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This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.
In 1932, in Paris, she established Editions de l'Oiseau-Lyre (Lyrebird Press), and as a music publisher set about reviving baroque and medieval music, in rare editions notable both for their scholarship and sumptuousness. Later (assisted by a second husband, 25 years younger) she began to make discs to illustrate these editions. From that original idea the recording venture grew and grew: in 1950 Louise made the first long-playing records in Europe, and by the time she died Oiseau-Lyre was a famous label, putting out some of the earliest recordings by such people as Dame Joan Sutherland, Sir Colin Davis, Sir Neville Marriner and the Academy of St. Martin in the Fields, and Dame Janet Baker.
Why does the University of Illinois campus at Urbana-Champaign look as it does today? Drawing on a wealth of research and featuring more than one hundred color photographs, An Illini Place provides an engrossing and beautiful answer to that question. Lex Tate and John Franch trace the story of the university's evolution through its buildings. Oral histories, official reports, dedication programs, and developmental plans both practical and quixotic inform the story. The authors also provide special chapters on campus icons and on the buildings, arenas and other spaces made possible by donors and friends of the university. Adding to the experience is a web companion that includes profiles of the planners, architects, and presidents instrumental in the campus's growth, plus an illustrated inventory of current and former campus plans and buildings.
Percy Grainger’s childhood imagining of a music capable of reproducing the sounds of nature was translated, in his later life, into the creation of wondrously inventive “Free Music” machines. Mostly made from found materials, these machines take their place in a proud tradition of sound art, at a point where the aural and the visual intersect. Two minds converged on the creation of the machines: the one self-taught and intuitive, the other scientifically trained and rigorous. The exchange of letters between the two men charts their journey of discovery and the friendship that grew from it: a grand passionate human adventure.
Alma Moodie is perhaps the most gifted violinist ever to have left Australia, acclaimed in Germany in her youth as a “rare apparition in the world of virtuosity”. Born in Mount Morgan, Queensland, in 1898, Moodie left Australia when she was nine for studies in Brussels with internationally renowned teachers. Through the tumultuous years of the First World War, the Weimar Republic and the Third Reich she forged an exceptional career, playing with the likes of the Berlin Philharmonic Orchestra under conductors including Nikisch, Furtwängler and Fritz Busch. Her untimely death in 1943 suggests that she was a victim of war just as surely as those many others whose fates were less ambiguous. By all accounts a charismatic personality and a prodigious musician, she left no recordings and has slipped into an obscurity as deep as it is undeserved. In piecing together the details of Moodie’s life, Kay Dreyfus reclaims her reputation as one of the outstanding violinists of her generation and as a leading exponent of the contemporary music of her day.
This landmark book tells the story of one of the most enduring forms of popular culture in Australia. Prior to the 1950s, country music was called hillbilly music. Hillbilly was the rock ‘n’ roll of its day. The latest craze, straight from America, it was young, exciting and glamorous. This book traces the journey hillbilly took to become country: the rural nationalistic form it is known as today. Yodelling Boundary Riders is the first book to contextualise country music into a broader story about Australian history. Not just concerned with the development of music itself, it is also a history of the ways in which Australians have responded to the rapid rate of change in the twentieth century and the global fascination with “authenticity”. True to its subject matter, the writing is colourful and entertaining. Along the way Martin introduces some wonderful characters and events: yodelling stockmen, singing cowgirls, sentimental cowboys, coo-ees in Nashville, hobos on the mail train, the Sheik of Scrubby Creek and Australia’s craziest hillbillies.