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This detailed ethnographic study explores the intercultural crafting of contemporary forms of Aboriginal manhood in the world of country, rock and reggae music making in Central Australia. Focusing on four different musical contexts – an Aboriginal recording studio, remote Aboriginal settlements, small non-indigenous towns, and tours beyond the musicians’ homeland – the author challenges existing scholarly, political and popular understandings of Australian Aboriginal music, men, and related indigenous matters in terms of radical social, cultural and racial difference. Based on extensive anthropological field research among Aboriginal rock, country and reggae musicians in small towns and remote desert settlements in Central Australia, the book investigates how Aboriginal musicians experience and articulate various aspects of their male and indigenous sense of selves as they make music and engage with indigenous and non-indigenous people, practices, places, and sets of values.Making Aboriginal Men and Music is a highly original, intimate study which advances our understanding of contemporary indigenous and male identity formation within Aboriginal Australian society. Providing new analytical insights for scholars and students in fields such as social and cultural anthropology, cultural studies, popular music, and gender studies, this engaging text makes a significant contribution to the study of indigenous identity formation in remote Australia and beyond.
Real and imagined aboriginal music, men and place -- Desert musics -- Music and men in the aboriginal studio -- Men making the studio -- Playing aboriginal communities -- Blackfellas playing whitefella Towns -- Touring blackfellas -- Changing aboriginal men and musicians
Annotation pending.
Revision of 1961 Ph.D. thesis, Glasgow University; p.2-15; Types of Aboriginal music; p.16-22; Aranda social customs (brief description of kinship system, totemism, male initiation); p.23-50; Sacred songs of the Aranda-speaking people, notes & definitions, signs used in transcription, rhythm, catalogue of rhythms for 14 inidividual verses; p.51-296; Musical transcriptions of Aranda & Unmatjera songs with original text & free English translations given separately, comments on vocabulary & ceremonial background, musical construction, rhythm p.297-327; General characteristics - performance, ornamentation, melodic outline, rhythm, harmony, form, pitch, intervals & scale; p.328-346; Comparison with music from Arnhem Land, Central & South Aust. (Alice Springs, Hermannsburg, Eyres Peninsula, Mucumba, Koonibba), Tangane, Pintubi, Yirrkala and Tasmania.
As an ethnography of Central Australian singing traditions and ceremonial contexts, this book asks questions about the vitality of the cultural knowledge and practices highly valued by Warlpiri people and fundamental to their cultural heritage. Set against a discussion of the contemporary vitality of Aboriginal musical traditions in Australia and embedded in the historical background of this region, the book lays out the features of Warlpiri songs and ceremonies, and centers on a focal case study of the Warlpiri Kurdiji ceremony to illustrate the modes in which core cultural themes are being passed on through song to future generations.
Surveys the latest developments in Aboriginal music across Australia and traces some of the historical influences which have shaped it
A comprehensive book on contemporary Aboriginal music in Australia.
This volume showcases academic research into the rich diversity of music in Australia from colonial times to the present. Starting with an overview of developments during the past 50 years, the contributions discuss Western and non-western genres (opera, film, dance, choral, chamber); the history of music-making in particular cosmopolitan and regional centres (Canberra, Brisbane, the Hunter Valley, Alice Springs); old, new, and experimental compositions; and a variety of performers and ensembles active at particular points in time. In addition, cultural tropes and music as social practice are also explored, providing a rich tapestry of music and music-making in the country. The volume thus serves as a model for representing and approaching multicultural musical societies in an inclusive and comprehensive manner.
Some indigenous people, while remaining attached to their traditional homelands, leave them to make a new life for themselves in white towns and cities, thus constituting an “indigenous diaspora”. This innovative book is the first ethnographic account of one such indigenous diaspora, the Warlpiri, whose traditional hunter-gatherer life has been transformed through their dispossession and involvement with ranchers, missionaries, and successive government projects of recognition. By following several Warlpiri matriarchs into their new locations, far from their home settlements, this book explores how they sustained their independent lives, and examines their changing relationship with the traditional culture they represent.
This book demonstrates the processes of intercultural musical collaboration and how these processes contribute to facilitating positive relationships between Indigenous and non-Indigenous peoples in Australia. Each of the chapters in this edited collection examines specific examples in diverse contexts, and reflects on key issues that underpin musical exchanges, including the benefits and challenges of intercultural music making. The collection demonstrates how these musical collaborations allow Indigenous and non-Indigenous people to work together, to learn from each other, and to improve and strengthen their relationships. The metaphor of the “third space” of intercultural music making is interwoven in different ways throughout this volume. While focusing on Indigenous Australian/non-Indigenous intercultural musical collaboration, the book will be of interest globally as a resource for scholars and postgraduate students exploring intercultural musical communication in countries with histories of colonisation, such as New Zealand and Canada.