Music and Metaphor

Peter Kivy’s contour theory provides a promising explanation of the way we describe instrumental music as expressive of emotions. I argue that if, unlike Kivy, we emphasise the metaphorical character of such descriptions, the contour theory, as a strategy for unpacking such metaphors, can be defended convincingly against common objections. This approach is more satisfactory than those of Scruton and Peacocke, who make much of metaphorical experiences, but leave the underlying metaphors unexplained. Moreover, it gives the contour theory a wider scope than Kivy intended, for even very specific narrative descriptions of music in non-musical terms are perfectly legitimate as long as they are presented, and justified, as metaphors, that is, as mere comparisons, rather than as interpretative claims about the music’s actual contents.

The supply and movement of Denarii in Roman Britain

Hoards of denarii are common in Britain and the number which have been recorded in detail means that it is now possible to suggest reasonably accurately what a ‘normal’ hoard of a particular date should look like. That being the case, we can then look for variation around that norm and both investigate and speculate what that variation means. A methodology is developed which suggests periods of faster and less rapid coin circulation which has implications for consideration of monetisation. The model also enables us to view where denarii entered circulation; unsurprisingly the army looms large in this picture. The methodology is directly transferable to other provinces and other periods where there are longlived, relatively stable monetary systems.

Wind farm construction impacts reindeer migration and movement corridors

Over the last decade, we have seen a massive increase in the construction of wind farms in northern Fennoscandia. Wind farms comprising hundreds of wind turbines are being built, with little knowledge of the possible cumulative adverse effects on the habitat use and migration of semi-domesticated free-ranging reindeer. We assessed how reindeer responded to wind farm construction in an already fragmented landscape, with specific reference to the effects on use of movement corridors and reindeer habitat selection. We used GPS-data from reindeer during calving and post-calving in the MalAyen reindeer herding community in Sweden. We analysed data from the pre-development years compared to the construction years of two relatively small wind farms. During construction of the wind farms, use of original migration routes and movement corridors within 2 km of development declined by 76 %. This decline in use corresponded to an increase in activity of the reindeer measured by increased step lengths within 0-5 km. The step length was highest nearest the development and declining with distance, as animals moved towards migration corridors and turned around or were observed in holding patterns while not crossing. During construction, reindeer avoided the wind farms at both regional and landscape scale of selection. The combined construction activities associated with even a few wind turbines combined with power lines and roads in or close to central movement corridors caused a reduction in the use of such corridors and grazing habitat and increased the fragmentation of the reindeer calving ranges.

Performance and narrative, bodies and movement in the construction of places and objects, spaces and knowledges: The case of the Maltese megaliths

The article explores the ways knowledge and space are co-produced performatively through bodily movement in an examination of the Maltese megaliths the first complex stone structures in the world. It is argued that knowledge is best seen as spatialized narratives of human actions and objects as materialized forms of those spatial narratives. Rewriting our social and historical narratives so that the performativity of place, space and knowledge is restored opens new possibilities for rethinking the social and material order.

Mystery and movement: doing more with dominoes

John Gough explains how to turn an ordinary set of dominoes into games of mystery, movement and strategy.

Travelling drum with different beats: experiencing African music and culture in Australian teacher education

This article reports on a study that examined the effectiveness of introducing African music and culture to Australian non-specialist primary teacher education students at Deakin University in Melbourne (Australia). The study demonstrates that African music enhanced the generic musical experiences, learning, motivation, interest, confidence and competence of students in their fourth year of teacher education. The research also addressed the significance and contribution of African music and culture as a cross-cultural experience for these beginning teachers who in turn could provide similar experiences for their own students. This study highlighted the author's role and cultural identity as a South African music educator in transmitting the music and culture represented in 'the travelling drum' to a cohort of students with a predominantly Eurocentric orientation. By extension, this curriculum initiative broadened students' understanding and application of indigenous methods of teaching and learning as part of a global experience. Such a curriculum represents a pathway to many other forms of non-Western indigenous knowledge of music, culture and pedagogy that can be mapped out as a journey along a multicultural route towards 'internationalising the curriculum'.

Smaller steps into longer journeys : experiencing African music and expressing culture

This paper outlines an exploratory research project that draws on survey data from both primary and secondary school music teachers in Victoria. The research stems from a study that I undertook in 2002-2003 with final year Deakin University undergraduate students. That project investigated the potential of African music to enhance the generic musical experiences, learning, motivation, interest, confidence and competence of non-specialist primary teacher education students. The research project being reported in this paper is an extension of the previous study to focus on practising music teachers at both primary and secondary school levels. The research addresses the significance and contribution of African music and culture as a cross-cultural experience for music teachers, their students and the wider community. It further considers my role as an African music practitioner in terms of transformation and acculturation. This paper outlines the progress of, and provides preliminary data about, the emergence of an innovative area of teaching and learning based on African music in Victorian schools. It also explores the notion of why cross-cultural and multi-cultural engagement matters in the contemporary context of educational change.

Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.

'It's a hungry home': postcolonial displacements, popular music and the sacred

This essay, through a theorized analysis of Australian popular song lyrics, investigates a range of understandings of “home”, including the exclusions and sacred connotations that inform the term. Against accusations of mere sentimentality or nostalgia regarding a desire for “home” as familiar and comforting and in response to Levinas's related arguments that a desire for home is at the root of splitting “humanity into natives and strangers”, it argues that it is necessary for postcolonial Australia to embrace “homelessness” at the heart of any understanding of “home”.

Sharing music and culture through singing in Australia

This article discusses the notion of sharing music and culture as an effective platform to celebrate diversity in Melbourne, Australia. My research project ‘Celebrating Music Making and Finding Meaning’ investigates and illustrates a context of diversity, one that promotes respect in a multicultural society sharing music and culture of a minority group. In 2007, I interviewed members of the South African choir in Melbourne; here I report on some data regarding why members sing in the choir, what are their understandings of a so-called South African identity and what they would like to share with the wider Australian community. I present some theoretical perspectives focusing on the notion of cultural and musical identity within a multicultural society. Such findings may have similar implications for other multicultural educational settings exploring the possibilities of valuing cultural diversity and making music across ages through a choir where difference can be shared and celebrated.