All change COUNTRY MUSIC loop

All Change Loop is a country & western instrumental featuring rhythm guitar, lead banjo, rhythm banjo, fiddle and upright bass with a wooden barn echo.

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.

So much more than just the music : Australian pre-service music teacher education students’ attitudes to artists-in-schools

Contemporary Australia is a country of ongoing migration and increasing cultural diversity which is reflected in its arts practices. This article considers the views held by Australian pre-service music education student teachers and their tertiary music educators about their perceptions concerning artists-in-schools programs in school music. This discussion reports on data collected for a study undertaken in Melbourne, Victoria, Intercultural Understandings of Pre-Service Music Education Students (2005–2009). Fifty-three interviews were analyzed using interpretative phenomenological analysis. The findings provide insight into teachers’ recognition of the need for artists-in-schools programs. In particular the ways in which teachers can link theory to practice, fill in omissions in their own knowledge, skills and understandings, and heighten student understandings of multicultural musics. The promotion and provision of multicultural music education is essential at all levels of education. This can be achieved by the inclusion of diverse culture bearers, artists-in-schools, and community engagement to work with both teachers and their students.

Community music making in Australia : creating, improvising and performing at the 2012 Lake Bolac Eel Festival

Lake Bolac is a freshwater lake, resulting from one of the volcanic eruptions in the Western district of regional Victoria (Australia). There is an annual migration of eels to it and they have been a local indigenous food source for very many years. Since 2004 there has been a festival to celebrate this event culminating at the Lake Bolac Eel Festival (LBEF). Since 2012, the festival included creative art works and a music workshop by academics from Deakin University (Melbourne, Australia) as a regional partnership with Lake Bolac. The opportunity to exhibit, workshop and perform works as academics and practitioners brought the community together where both contemporary and traditional arts can be preserved, protected and promoted. My paper forms part of a larger creative research project called Flows and Catchments at Deakin University which started in 2011. My study situates itself in creative music making and soundscape within the larger project.

Letter from the chair, Bulletin : ASME Victoria

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Community music-making in regional Australia: creating, improvising and performing at a festival

Community arts in Australia, as in many other countries, continue to permeate society, illuminating the past and shaping the future. This article situates itself as an aspect of community music through creative music-making within a larger research project that started at Deakin University (DU) (Melbourne, Australia) in 2011 called ‘Flows and Catchments’. Through the lens of creative arts and music-making, I argue that community partnerships between local communities and tertiary institutions are a fertile ground to celebrate arts practice where the cultural and artistic life of the community is promoted, fostering respect and understanding between indigenous and non-indigenous peoples. In 2012, I presented a music workshop at the 8th Annual Lake Bolac Eel Festival (LBEF) in Western Victoria. Using the African term Masakhane, which means ‘let us build together’, I provide a snapshot of my experience through journaling and anecdotal feedback as I reflect in and on the teaching and learning episode of the volcanic composition. The community partnership between DU (academics in an urban space) and the LBEF (local community in a regional place) provided an opportunity for people of all ages to engage, explore and experience music-making collectively in a social context. As a tertiary music educator, I propose more pathways being established with regional communities in order to deepen the knowledge and understanding of them; schools, communities, artists, academics and tertiary students can form cultural synergies in place-based settings like those of festivals.

The show must go on’ : older entertainers making music in the community in Melbourne, Australia

Globally countries are faced with an aging population and Australia is no different. This creates challenges for the maintenance of well-being which can be enhanced by active engagement in society. There is extensive research that confirms that engagement in music by older people is positively related to individual and community wellbeing. Music engagement encompasses a range of social participation and has the potential to recognise the contribution of older people to their local communities. Music participation can contribute to a better quality of life, particularly in relation to health and happiness. There are many possible forms of music engagement. This study is part of an on-going Deakin University and Monash University research project, Well-being and ageing: community, diversity and the arts in Victoria. This article focuses on three members of a mixed voluntary singing group formed by older residents of an outer suburban community in Melbourne, Australia. This group, The Skylarkers, were established in 1999 as a four-part choir. Over the years the nature of the choir has changed under subsequent music directors. Since 2009 the group has focused on music theatre repertoire and performance style. Membership of the group is fluid reflecting changing life circumstances of the members but the ensemble is resilient. This small amateur music theatre group is based in suburban Melbourne, rehearses weekly and performs regularly at retirement villages, nursing homes and facilities for senior citizens. This article presents a phenomenological qualitative single case study of members of the Skylarkers. In this study, interview data were gathered in 2011-2012 and analysed using interpretative phenomenological analysis. Two significant themes emerged that concern musical self-identity and gaining a sense of purpose and fulfilment. The Skylarkers are more than a choir; they are an amateur entertainment troupe that engages with each other and the wider community. This resilient group holds true to the motto ‘the show must go on’.

THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS

The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular.

Victoria en Germania. Tomás Luis de Victoria y la historiografía alemana hasta principios del siglo XX

Es war bisher unbekannt, dass die deutschsprachige Musikhistoriographie dem Komponisten Tomás Luis de Victoria relativ viel Beachtung geschenkt hat. Als iberischer Counterpart des Heroen Palestrina spielt er bei der Gestaltung eines Geschichtsbildes der musikalischen Renaissance daher eine viel wichtigere Rolle als bisher vermutet. Die Auseinandersetzung deutscher Musikwissenschaftler mit Victoria spielte eine zentrale Rolle bei der Würdigung des Komponisten durch die spanische Historiographie.

Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?

Dem milner's treren : The millers tears ; folk song

Jacob Beimel

White spirituals in the southern uplands; the story of the fasola folk, their songs, singings, and "buckwheat notes,"

Includes music.

Folk songs from Mexico and South America.

Mode of access: Internet.

Folk-songs, chanteys and singing games /

For medium voice and piano.

Russian folk-songs /

Song of the Volka boatmen - At daybreak -- Mazurka -- On the river -- In the steppe -- Fiddle and bass -- Balalaika -- In the canteen -- The beggar's song -- Song and chorus -- Complaint -- Happiness -- Song and dance -- Sea birds -- Bridesmaids' chorus.