Exploring and expressing Italian musical heritage in Melbourne (Australia): a women’s community choir

Australia comprises many cultures, ethnicities, and languages. Belonging to community music groups by older people can enhance quality of life, offer a sense fulfilment, and provide a space through which cultural and linguistic identity may be shared and celebrated. This qualitative case study explores engagement by older members of La Voce Della Luna, an Italian women’s community choir based in Melbourne, Victoria. Older Australians, particularly those from culturally and linguistically diverse backgrounds frequently rely on voluntary community arts organisations to enhance quality of life. Singing together can provide ways for individuals and communities to express themselves, build community identity, improve quality of life, and celebrate cultural heritage. The members of the choir know that under their inspiring conductor they would learn new songs, new languages and new ways of performing. Their music director saw that the women’s singing together opened new horizons of social engagement and new ideas such as social justice and women’s rights.
This case is from the larger ongoing joint research project (2008 ongoing), Well-being and ageing: community, diversity and the arts in Victoria. Data were gathered from documentary sources and by individual and focus group semi-structured interviews (2013) and were analysed using interpretative phenomenological analysis. Significant themes emerged: social connection and combatting isolation, the maintenance and transmission of cultural heritage, and opening horizons about music making and social justice. This paper demonstrates that active music making makes it possible for older women to learn new skills, new ideas, and create for themselves a resilient community.

Preservice music students explore African music in an Australian tertiary context

Turning Gigabytes into Gigs: “Songification” and Live Music Data

Complex data is challenging to understand when it is represented as written communication even when it is structured in a table. How- ever, choosing to represent data in creative ways can aid our under- standing of complex ideas and patterns. In this regard, the creative industries have a great deal to offer data-intensive scholarly disci- plines. Music, for example, is not often used to interpret data, yet the rhythmic nature of music lends itself to the representation and anal- ysis of temporal data.Taking the music industry as a case study, this paper explores how data about historical live music gigs can be analysed, extend- ed and re-presented to create new insights. Using a unique process called ‘songification’ we demonstrate how enhanced auditory data design can provide a medium for aural intuition. The case study also illustrates the benefits of an expanded and inclusive view of research; in which computation and communication, method and media, in combination enable us to explore the larger question of how we can employ technologies to produce, represent, analyse, deliver and exchange knowledge.

The maintenance of Central Thai cultural identity through hybrid music genres

Thailand has experienced rapid industrialisation, modernisation and cultural changesince the mid-nineteenth century. Many Western cultural forms have been adopted intoThai life, including Western popular music. An external view of these processes andtheir results might suggest that Thailand has become quite ‘Western’. However, closeranalysis reveals that elements of foreign cultures have long been adopted and adaptedinto Thai culture, and used as social capital to build an image of modernity andcosmopolitan sophistication.One of the adaptations made has been the fusion of Western genres with Thaiones, to form new hybrid styles of music. One hybrid genre that has developed largelyover the past half century is Dontri Thai Prayuk (‘modernised Thai music’), whichfuses aspects of Western pop with elements of Central Thai classical music. As thispaper demonstrates, clear patterns emerge in the way Thai musicians have maintainedmarkers of Thai identity and fused them with Western elements that signifymodernisation.Motivations behind this deliberate fusion of Thai and Western elements areexplained by the theories of ‘musical accommodation’ and ‘acts of identity’ – thatmusicians will converge with or diverge from other music-cultures in order to gainapproval or assert a separate identity, in ways that deliberately change the underlyingrules of the source musics to form a new identity. Analysis of Dontri Thai Prayukfusion music shows that it has changed the underlying rules of Thai classical andWestern popular music to display a music-cultural identity that is Thai, yet modern.

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.

Spiritual connections made through music making: sharing faith and music in an Australian setting

The musical involvement of people over the centuries is fundamentally interwoven with spiritual experiences (Seifert 2011). This paper discusses the connection between music and spirituality in an inter-denominational group in the southeastern suburbs of Melbourne. With ethical clearance, through semi-structured interviews with two church leaders and the music worship team, subsequently employing Interpretative Phenomenological Analysis (IPA), I analysed and codified the data gathered. Two overarching themes are discussed: insights into music and spirituality; and connecting music to worship with self and others. The findings show that music in worship may provide a rich pathway for people to explore, experience, and express their spirituality, and to connect to the wider multicultural society. It also adds to the current debates on whether music has spiritual significance for some people apart from community expressions of spirituality through music. Limitations of the current study are knowledged and generalizations cannot be made regarding connections to music and spirituality. However, the findings do indicate that music in worship can enrich one’s spiritual experience and connection with God and others.

D.A. Pennebaker: Interviews

This wide-ranging and insightful collection of interviews with D. A. Pennebaker (b. 1925) spans the prolific career of this pioneer of observational cinema. From the 1950s to the present day, D. A. Pennebaker has made documentary films that have revealed the world of politics, celebrity culture, and the music industry. Following his early collaborations with Robert Drew on a number of works for television, his feature-length portrait of Bob Dylan on tour in England in 1965 (the landmark film Dont Look Back) established so-called direct cinema as a form capable of achieving broad theatrical release. With Monterey Pop, Pennebaker inaugurated the popular mode of rock concert film (or "rockumentary"), a style of filmmaking he has expanded on through a number of films, including Ziggy Stardust and the Spiders from Mars and Depeche Mode: 101. Pennebaker has always regarded collaboration as an integral part of his filmmaking methods. His long-running collaboration with Richard Leacock and subsequently his work with Chris Hegedus have enriched his approach and, in the process, have instituted collaboration as a working practice integral to American direct cinema. His other collaborations, in particular, with Jean-Luc Godard and Norman Mailer, resulted in innovative combinations of observational techniques and fictional aesthetics. Such films as The War Room, which was about the 1992 Democratic primaries and was nominated for an Academy Award, and the 2009 Kings of Pastry continue to explore the capacities of observational documentary. In 2012 Pennebaker was the first documentary filmmaker to be awarded an Academy Honorary Award by the Academy of Motion Picture Arts and Sciences.

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’.

Dancing with inter-disciplinarity: strategies and practices in higher education dance drama and music

The rise of inter-disciplinarity has not occurred without debate and controversy. Often responding to government agendas, it is not uncommon for university research strategies to include inter-disciplinarity by default, by supporting multidisciplinary collaborations across the institution, nationally and internationally – industry and business being a particular focus. Beginning from the premise that Inter-disciplinary is where students/staff from more than one discipline learn with, from and about one another through a common activity, usually in the context of practice, this report documents the findings of a recent research project aimed to document ways in which inter-disciplinary approaches were active in universities, how they were resourced, what made them effective, and in what ways they are limited.

In-store music and aroma influences on shopper behavior and satisfaction

Retail markets are increasingly competitive and retailers continuously look to differentiate their retail offering. One way to differentiate is by providing a pleasant and exciting shopping ambience. This paper experimentally tests the effects of music (volume high or low) and aroma (vanilla scent present/absent) on young fashion shoppers in a real retail setting. Results show that volume of music and the presence of a vanilla aroma both have a significant impact on shoppers' emotions and satisfaction levels. Additional analysis reveals that the arousal induced by music and aroma results in increased pleasure levels, which in turn positively influences shopper behaviors, including time and money spend, approach behavior, and satisfaction with the shopping experience. Direct effects of arousal on behaviors as well as an interaction effect between music and aroma on pleasure and time spent in the store are also present. The paper contributes to the better understanding of shoppers' emotions and shopper behaviors in response to in-store atmospherics and offers retailers practical insights into how to create competitive advantage by customizing the atmosphere in their stores.

Documentary tensions and the filmmaker in the frame

This thesis identifies a distinct category of documentary in which the filmmaker is shown negotiating their authorship and performing their authority. Close analysis of three films investigates conceptual tensions that arise when a filmmaker is framed as both a specific subject and a documentary author.

Can music therapy in medical contexts ever be evidence-based?

This essay seeks to consider some of the issues around evidencethat provide an ongoing challenge to the profession of music therapyto be vigilant and critical with regards the undertaking, butalso the appropriation or application, of research in our alliedhealth discipline. It is written in response to the statement that“medical music therapists need to continue to discuss and debateour views as to what constitutes knowledge, expertise and ‘evidence’in our profession.” (Edwards, 2002, p. 33). A critical perspectiveto current demands for evidence is provided, and the useof quantitative method as the basis for trustworthy research inmusic therapy is discussed. The paediatric medical context is themain site of professional research of the author, however, some ofthe points made will have relevance for other fields of clinicalservice.