"Who Are You" by DeepBlue Orchestra - Artistic Producer of Show

The production of a two hour show "Who Are You" which which began touring Australia and Asia in 2012.

Settling the Pop Score : Pop Texts and Identity Politics [Book Review]

Review(s) of: Settling the Pop Score: Pop Texts and Identity Politics, Stan Hawkins, Aldershot, Hants. : Ashgate, 2002, ISBN 0 7546 0352 0; pb, 234pp, ill, music exx, bibl. , discog. , index. The scholarly study of popular music has its origins in sociology and cultural studies, disciplinary areas in which musical meaning is often attributed to aspects of economical and sociological function. Against this tradition, recent writers have offered what is now referred to as ‘popular musicology’: a method or approach that tends towards a specific engagement with ‘pop texts’ on aesthetic, and perhaps even ‘musical’ terms. Stan Hawkins uses the term popular musicology ‘at his own peril,’ clearly recognising the implicit scholarly danger in his approach, whereby ‘formalist questions of musical analysis’ are dealt with ‘alongside the more intertextual discursive theorisations of musical expression’ (p. xii). In other words, popular musicologists dare to tread that fine line between text and context. As editor of the journal Popular Musicology Online, Hawkins is a leading advocate of this practice, specifically in the application of music-analytical techniques to popular music. His methodology attests to the influence of other leading figures in the area, notably Richard Middleton, Allan F. Moore and Derek Scott (general editor of the Ashgate Popular and Folk Music Series in which this book is published).

Circle Stories

Research background: Circle Stories was a live performance curated by Brydie-Leigh Bartleet, Naomi Sunderland, Gavin Carfoot and the Winanjjikari Music Centre as part of the Desert Harmony Festival 2013. The performance was the culmination of five years of research into intercultural performing arts practice, undertaken in partnership with Barkly Regional Arts. This work has built on existing scholarly work in community service learning by Marilynne Boyle-Baise, approaches to intercultural music making with Australian First Peoples by Karl Neuenfeldt, and studies of Indigenous popular music by Peter Dunbar-Hall and Chris Gibson. The performance followed the popular songwriters’ circle approach, in which Aboriginal musicians and elders presented their songs along with tertiary music students, as part of a broader dialogue with each other and the audience. Each performance provided an opportunity to highlight the importance of music in the development of intercultural knowledge and understanding. The project asked the research question, how can collaborative music performance foster mutual learning, intercultural knowledge and reconciliation? Research contribution: The project development and performance of Circle Stories identified that mutual learning and intercultural knowledge can result most effectively through long-term and meaningful relationships underpinning collaborative creative practice. Research significance: Following a general call for proposals, the performance was peer reviewed and selected for inclusion in the Desert Harmony Festival program. The research context of the work is detailed in Brydie-Leigh Bartleet and Gavin Carfoot 2013. "Desert harmony: Stories of collaboration between Indigenous musicians and university students." International Education Journal: Comparative Perspectives 12 (1): 180-196.

ÉLET [LIFE]

Élet [pronounced air-let] is the Hungarian word for Life. The work is informed by the lyrics of six songs performed by French cover band Nouvelle Vague. Whilst Élet [Life] is created to be absorbed and interpreted openly by each individual, at the core of the choreography lies a desire to move forwards, to communicate – to be seen and heard. The work embraces aspects such as loneliness, joy and tension that we experience in our lives and relationships. As the movement opens out from these ideas, the physical shapes of our personal moments are infused with the elements of sound, colour and rhythm. A rich translation of personal movements through life.

Dance to Gardot

The sublimely cool and mouldering elegance of Melody Gardot’s songs is the inspiration and driving force of DANCE TO GARDOT. This work, in 11 sketches, echoes the sultry moods and yearning sensations of Gardot’s tunes - intimations of suffering and resolve. A classic jazz chanteuse, Gardot’s rich-toned voice along with luscious orchestrations, provide a stylish sonic expression of the place were music meets life.

From impact assessment to user-friendly risk management decision-making

In earlier cultures and societies, hazards and risks to human health were dealt with by methods derived from myth, metaphor and ritual. In modem society however, notions of hazard and risk have been transformed from the level of a folk discourse to that of an expert centred concept (Plough & Krimsky, 1987). With the professionalization of risk and hazard analysis came a preferred framework for decision making based on a range of 'technical' methodologies (Giere, 1991 ). This is especially true for decision processes relating to risk assessment and management, and impact assessment. Such approaches however, often entail narrow technical-based theoretical assumptions about human behaviour and the natural world, and the· methods used. They therefore carry 'in-built' error factors that contribute considerable uncertainty to the results.

The Medics - "Foundations"

The Medics “Foundations” is a full-length album of popular music completed over a 13-month period and released in 2012, with work taking place in Byron Bay’s 301 studios and Brisbane’s Airlock studios. “Foundations” contributes to studies in the field of music production, as well as furthering research into the place of Indigenous youth culture within contemporary rock music. The music draws on elements of folk, post rock and hardcore to create a dynamic and cinematic sound, framed by lyrics that focus on spirituality, nature and a connection to the land. Artists such as At the Drive In and Mars Volta were referenced in the production of the record. Scholars such as Joe Bennett have argued that the relationship between songwriting practice and song product is an under-explored area in popular musicology, and, by using a practice-led research methodology, the production of “Foundations” extends these creative inquiries. “Foundations” was produced with the assistance of a competitive grant, the Cultural Minister’s Council Breakthrough initiative, which assists emerging Indigenous contemporary musicians. The album was well received and positively reviewed, resulting in the band signing a record deal with Warner Music and a publishing deal with Albert’s Music. It was album of the week on Triple J and several singles were placed on high rotation. A review on Themusic.com.au highlighted the production work: “Producer Yanto Browning has captured the impassioned live intent the band have built their reputation on and bottled it into 11 impeccable tracks, the album maintaining their onstage vigour while polishing it just enough to allow it to burn brightly through the speakers.” As a result of the record, The Medics were invited to play Splendour in the Grass, the national Big Day Out tour and a series of shows in South America.