Monday, November 3, 2008
Australia in Music
As “‘[p]laces’ can be thought of as complex entities, ensembles of material objects, people, and systems of social relationships embodying distinct cultures and multiple meanings, identities and practices” (Hudson 2006, p. 627), it is very difficult to fully depict a place in a single song. Australia poses a significant problem in this respect – despite being such a geographically stagnant continent, its vast size and widely varying landscape is coupled with a constantly changing society and a constantly changing perception of that society. “[C]omposers have drawn inspiration both from the landscape itself and the fauna it supports ... [but] There is no geographical or spiritual consistency in the landscape that is Australia, rather it is a diverse place stimulating a wide range of responses” (Richards 2007, p. 1). This has resulted in wide variation in Australian songs, yet many songs have been promoted as capturing the spirit of Australia, heralded as snapshots of Australian life, even if they only refer to a small part of the country or a local identity, “a regional image [being] appropriated to stand for national identity” (Douglas, 2000).
Themes in Australian Music: A National Identity
Australia is a young country, still forming much of its identity, so how it is portrayed in music is of great importance. Australia’s national image and identity has is constantly evolving, prompted by and reflected through the songs that have been written and performed regarding Australia. In Western traditions of music, Australia has traditionally been depicted as “a big, wide-open country populated by fun loving, white, Anglo-Celts” (Douglas, 2000). Most songs that deal with Australia and what is ‘Australian’ include concepts of travelling, the rural/local/Outback/land, Aboriginals, war or a mix of these themes.
When asked to name a song which refers to Australia, one of the first songs that typically comes to mind is Men at Work’s ‘I Come From a Land Down Under’.
This song, like Peter Allen’s ‘I Still Call Australia Home’, is about an Australian travelling the world, while the classic song ‘Waltzing Matilda’ by A.B. ‘Banjo’ Paterson and Colin Buchanan’s ‘North Bourke Bridge’ draw the theme of travelling back within Australia, while also dealing with concepts of the rural and Outback (“Oh-oh the locals know / The outback calls you back / They knew that I’d be back”). Eric Bogle’s ‘Band Played Waltzing Matilda’ starts with both these themes and moves on to deal with war. Conflict has played a large part in shaping Australian history and identity, many iconic songs of Australia deal with the subject –, Cold Chisel’s ‘Khe Sanh’, Redgum’s ‘I Was Only Nineteen’ and Australian Crawl’s ‘Reckless’ being some of the more prominent ones, telling the sad stories of men forever changed by conflict. The shifting attitude towards Aboriginals is evident when comparing ‘Tie Me Kangaroo Down, Sport’ (which was released in 1963 and originally contained a verse pertaining to “let[ting his] Abos go loose”, treating Aboriginals as property) and both The Seekers’ 1987 hit ‘I Am Australian’ and ‘Dead Heart’ by Midnight Oil, released in 1986. More recently, The GetUp Mob’s 2008 adaptation of Paul Kelly’s ‘From Little Things Big Things Grow’ has incorporated Kevin Rudd’s national apology to Indigenous people as well as other speeches concerning Indigenous issues.
Many Australian-themed songs thus are closely interlinked, sharing themes and sampling pieces from each other. For example, the melody of Marion Sinclair’s ‘Kookaburra Song’ is featured as a flute piece in ‘I Come from a Land Down Under’, and ‘Band Played Waltzing Matilda’ features ‘Waltzing Matilda’ as a constant theme, including its melody at some points as well as appropriating its final two lines as its own closing lyrics. This interlinking emphasises the patriotism and single identity of Australians, and promotes an image of a local, close community, while illustrating the effect that intercultural relations have on the building of the image of Australian and what is Australian.
When asked to name a song which refers to Australia, one of the first songs that typically comes to mind is Men at Work’s ‘I Come From a Land Down Under’.
This song, like Peter Allen’s ‘I Still Call Australia Home’, is about an Australian travelling the world, while the classic song ‘Waltzing Matilda’ by A.B. ‘Banjo’ Paterson and Colin Buchanan’s ‘North Bourke Bridge’ draw the theme of travelling back within Australia, while also dealing with concepts of the rural and Outback (“Oh-oh the locals know / The outback calls you back / They knew that I’d be back”). Eric Bogle’s ‘Band Played Waltzing Matilda’ starts with both these themes and moves on to deal with war. Conflict has played a large part in shaping Australian history and identity, many iconic songs of Australia deal with the subject –, Cold Chisel’s ‘Khe Sanh’, Redgum’s ‘I Was Only Nineteen’ and Australian Crawl’s ‘Reckless’ being some of the more prominent ones, telling the sad stories of men forever changed by conflict. The shifting attitude towards Aboriginals is evident when comparing ‘Tie Me Kangaroo Down, Sport’ (which was released in 1963 and originally contained a verse pertaining to “let[ting his] Abos go loose”, treating Aboriginals as property) and both The Seekers’ 1987 hit ‘I Am Australian’ and ‘Dead Heart’ by Midnight Oil, released in 1986. More recently, The GetUp Mob’s 2008 adaptation of Paul Kelly’s ‘From Little Things Big Things Grow’ has incorporated Kevin Rudd’s national apology to Indigenous people as well as other speeches concerning Indigenous issues.
Many Australian-themed songs thus are closely interlinked, sharing themes and sampling pieces from each other. For example, the melody of Marion Sinclair’s ‘Kookaburra Song’ is featured as a flute piece in ‘I Come from a Land Down Under’, and ‘Band Played Waltzing Matilda’ features ‘Waltzing Matilda’ as a constant theme, including its melody at some points as well as appropriating its final two lines as its own closing lyrics. This interlinking emphasises the patriotism and single identity of Australians, and promotes an image of a local, close community, while illustrating the effect that intercultural relations have on the building of the image of Australian and what is Australian.
The Sound of Australia: Instrumental Aspects of Australian Music
Australians have drawn musical inspiration from all over the globe, the earliest composers studying in Britain and Germany, but gradually beginning to draw inspiration from both Indigenous Australian music and Asian music. Asian music (particularly “south-east Asian approaches to pitch, such as the use of simple pitch sets within a harmonic language” [Richards 2007, p. 4]) is a “metaphor for saying this really our geographical place in the world. We are much closer to Asia, therefore we should look to it, listen to it and be influenced by it” (Stanhope 2004; cited in Richards 2007, p.4). This would have eventually formulated a unique Australian sound, however increasing globalisation has hindered this progress. The evolution of Australian-themed music from classics such as ‘Click Go the Shears’ to Area 7’s ‘Nobody Likes a Bogan’ has left Australia with a more globally homogonous sound. “There is no doubt that globalisation has contributed to the homogenisation of popular or rock music” (Douglas, 2000). Australia’s relative youth has meant this has occurred before a distinctive Australian sound could be produced.
“[W]hile some forms of music might be easier to recognise as having an Australian sound because of particular lyrical content or style (such as bush music, folk) it [is] difficult to define an Australian sound in all genres of music” (Douglas, 2000). It could be argued that there is no original, uniquely Australian sound in non-Indigenous Australian music, as the Internet and increasing globalisation has affected music production in very drastic ways. “For many artists, concerned with global communities, cyberspace and the dynamic world of remixes, the sense of place as a geographic space has all but disappeared” (Bandt; in Richards 2007, p. 266)
However, some traditions have arisen in music about Australia. Due to the tradition of travel and exploration in Australia (one of the prominent themes in music about Australia), instruments are traditionally acoustic, portable and makeshift – acoustic guitars, flutes, whistles, drums, wobble boards, trumpets, harmonicas, fiddles and violins rather popular in songs about Australia, building on bush and folk music origins. Indigenous Australian instruments are also often incorporated.
“[T]he dominant sound of Australian rock as loud and played well ‘live’”, rough around the edges and unpolished (Douglas, 2000). This is reflective of the rough, harsh country, as well as our imperfect, convict past, relaxed attitude and global perceptions of Australia as such. Audience participation has reoccurred in music about Australia – songs are easy to sing along to, and people are encouraged to, building the sense of community so prominent in Australian music. Indigenous Australian songs are sung in collectives, with accompanying group dances, while rock songs use familial language such as nicknames, slang and collective nouns to involve the audience, identifying them as part of the music, and thus part of Australia.
Indigenous Australian music is very distinctive, easily recognisable to overseas listeners. “Australia... has been mapped and inscribed for over 50, 000 years with indigenous song. Traditionally, land and song are inseparable... Songs are the audible geography of place, time and culture. They are signifiers of identity and belonging... They are the land as they resonate within it” (Bandt; in Richards 2007, p. 265). Influenced by and reflective of the Australian soundscape, Indigenous Australian music captures Australian landscape through musical signifiers such as imitating birdsong and insects to replicate the texture of the soundscape. The dances that accompany their music reinforce the figurative sounds.
This is exploited by non-Australian musicians writing songs about or targeting an Australian audience, such as Jonas Brothers’ ‘Australia’, stereotyping Australia even further. About the singer’s longing for a girlfriend from Australia, who “won’t break [his] heart” because she’s from Australia (perhaps an allusion to the well-known ‘girlfriend from Canada’ excuse – “she’s my dream girl”), the introduction features didgeridoos while the remainder of the song is typically pop/rock in style, having no other allusions to Australia apart from in lyrical content, making it seem somewhat out of place. Yet the sound of the didgeridoo is so distinctive that it sets the tone for the entire piece and is instantly recognisable.
“[W]hile some forms of music might be easier to recognise as having an Australian sound because of particular lyrical content or style (such as bush music, folk) it [is] difficult to define an Australian sound in all genres of music” (Douglas, 2000). It could be argued that there is no original, uniquely Australian sound in non-Indigenous Australian music, as the Internet and increasing globalisation has affected music production in very drastic ways. “For many artists, concerned with global communities, cyberspace and the dynamic world of remixes, the sense of place as a geographic space has all but disappeared” (Bandt; in Richards 2007, p. 266)
However, some traditions have arisen in music about Australia. Due to the tradition of travel and exploration in Australia (one of the prominent themes in music about Australia), instruments are traditionally acoustic, portable and makeshift – acoustic guitars, flutes, whistles, drums, wobble boards, trumpets, harmonicas, fiddles and violins rather popular in songs about Australia, building on bush and folk music origins. Indigenous Australian instruments are also often incorporated.
“[T]he dominant sound of Australian rock as loud and played well ‘live’”, rough around the edges and unpolished (Douglas, 2000). This is reflective of the rough, harsh country, as well as our imperfect, convict past, relaxed attitude and global perceptions of Australia as such. Audience participation has reoccurred in music about Australia – songs are easy to sing along to, and people are encouraged to, building the sense of community so prominent in Australian music. Indigenous Australian songs are sung in collectives, with accompanying group dances, while rock songs use familial language such as nicknames, slang and collective nouns to involve the audience, identifying them as part of the music, and thus part of Australia.
Indigenous Australian music is very distinctive, easily recognisable to overseas listeners. “Australia... has been mapped and inscribed for over 50, 000 years with indigenous song. Traditionally, land and song are inseparable... Songs are the audible geography of place, time and culture. They are signifiers of identity and belonging... They are the land as they resonate within it” (Bandt; in Richards 2007, p. 265). Influenced by and reflective of the Australian soundscape, Indigenous Australian music captures Australian landscape through musical signifiers such as imitating birdsong and insects to replicate the texture of the soundscape. The dances that accompany their music reinforce the figurative sounds.
This is exploited by non-Australian musicians writing songs about or targeting an Australian audience, such as Jonas Brothers’ ‘Australia’, stereotyping Australia even further. About the singer’s longing for a girlfriend from Australia, who “won’t break [his] heart” because she’s from Australia (perhaps an allusion to the well-known ‘girlfriend from Canada’ excuse – “she’s my dream girl”), the introduction features didgeridoos while the remainder of the song is typically pop/rock in style, having no other allusions to Australia apart from in lyrical content, making it seem somewhat out of place. Yet the sound of the didgeridoo is so distinctive that it sets the tone for the entire piece and is instantly recognisable.
GANGgajang - Sounds of Then (This is Australia) Analysis
Landscape can be constructed through purely musical means, such as particular harmonic progressions and the prolongation of diatonically dissonant sonorities... to create the impression of temporal suspension, a musical effect which suggests depth and perspective, or it can be evoked through the innovative use of conventional musical signifiers such as herding calls and echo effects to suggest space and distance (Grimley 2006, p. 109).
GANGgajang’s minor 1985 hit ‘Sounds of Then (This is Australia)’ “is actually about how smells and sounds and sensations can rekindle a memory – which is what music does so successfully for people” (Callaghan, cited in Kruger 2002). The memory that composer Mark Callaghan tries to convey is that of his time as a teenager living in Bundaberg, Queensland in 1972, and the accompanying cultural shock, as he had previously lived in England, and before that Africa, which resulted in him experiencing the area from an outsider’s perspective, heightening the experience by being able to compare locations and note their differences and similarities (GANGgajang 2008; Callaghan, cited in Kruger 2002).
Above all, landscape in the Western tradition is not natural, something created by nature without human intervention, but a series of environments, characters (moods or feelings), views or perspectives that are artificially constructed and perceived. (Grimley 2006, p. 56)
Callaghan takes note of Grimley’s observations on landscape, as the repeated lyrical soundmark “this is Australia” is precluded with “we... laugh and think” (emphasis added), indicating that the Australia portrayed within the song is merely the Australia the ‘we’ of the song perceive. Callaghan focuses on capturing the familiar – the physical features of the land, the people there with him, and the distinctive sensory aspects of the area and the memories, moods and feelings that the place evokes. However, the song has now been appropriated to represent the entire country of Australia, evolving from a local identity to a national one that does not necessarily apply to the entire country (Douglas 2000). In fact, ‘Sounds of Then’ was used in a 1988 Coca-Cola television commercial to sell the American drink to Australians and Canadians (Douglas 2000; angusjmp 2006; pelepollo 2007).
Callaghan draws not only on the soundscape of Bundaberg, but on every sensory perception, attempting to convey the full experience of the area through the song (“That certain texture, that certain smell”). Opening with a clash of cymbals signifying “the lightning crack over canefields”, the song has a distinctly electronic sound, befitting the music scene at the time of its release, though Callaghan notes that “[m]usically speaking [Bundaberg] was the pits” (GANGgajang 2008). The lack of musical stimulation that he experienced is reflected in the repetitive riff of the electric guitar and short, staccato keyboard chords, which vary very little to illustrate his monotonous musical experience there.
The steady beat and predictable instrumentals are reminiscent of the sluggish, unchanging landscape, the drums counting time, reminiscent of how one would watch a clock and count the seconds passing. The guitar reverberates strongly throughout the chorus, serving as a distinctive soundmark and having the effect of an echo to illustrate the wide open land. It also assists in giving the song a rough sound, echoing the land.
The electric piano plays a melodic riff in a higher register creating a contrast between the rest of the piece and providing a bright, light tone colour. The open, almost flappy, loose drum tone gives the feeling of an open plain – of improvised, raw music, lack of precision and perfection making it very casual. This type of drumming is also used in ‘I Come From A Land Down Under’, in which drums are very important and prominent in the portrayal of Australian culture (and how an Australian carries a part of the Australian landscape with them wherever they go).
A soft, constant, metallic twang of a guitar in the background emulates the sound of light rain falling on a tin roof or glass windows. These guitar trills in the higher register provide contrast to the rest of the song, particularly the bass, drums and electronic piano, which are lower. This contrast assists in portraying the humidity that is such a central piece of imagery in the song (“And the humidity we’d breathe”), as humidity is born of heat combined with cooling water – contrasting opposites. The bass and drums represent the throb of heat, while the light, quick plucking of the guitar represents the rain.
In the outro, Indigenous Australian instruments can be heard, particularly hand drums (still loose), which do not fall in any set rhythm, like random heavy raindrops. The squawk of a didgeridoo replicates the caw of a crow, utilising imitation of birdsong to reinforce the setting and leave the listener with a strong last impression of a natural Australian landscape. This is a common technique in both Indigenous and white Australian music, John Williamson also utilising it in ‘Home Among the Gum Trees’, imitating a kookaburra, sheep and the ‘boing’ of a kangaroo jumping. In ‘Sounds of Then’ these musical signifiers are added to the continued reverberating electric guitar, its fluctuating tone illustrating how hot, heavy, humid conditions can cause people to perceive the entire landscape as throbbing in the heat. This throbbing is constant throughout the piece through the steady drum beat, akin to a heartbeat.
‘Sounds of Then’ portrays a very masculine image, the focus overwhelmingly more on lyrical substance than style as the song originating as a poem (Kruger 2002). The vocals casually hover between singing and speaking and the words are almost drawled, projecting an air of familiarity and relaxation, the vocalist feeling no need to show off. Pitch becomes indefinite as the vocals become spoken. “The boundaries between speech, music and other sound have weakened” (van Leeuwen 1999, p. 2). This also assists in perpetuating the image of a hot landscape, the vocalist appearing too hot and tired to put too much effort into forcing strong emotion into the song.
Australia is portrayed as wild, hot, muggy and rural – there is no mention of the city landscape, and every sense is heightened. Themes of shared experiences and camaraderie are prevalent particularly in the lyrics, which always refer to the collective “we”, while the instruments paint the soundscape of a hot and dry yet wet and muggy day.
Conclusion
Although Australian music has largely succumbed to globalisation and a larger hegemonic global sound, songs specifically about Australia itself strive to distinguish themselves from the crowd, drawing on Australia’s short European and long Indigenous histories and Asian-Pacific location in composition. Thus composers are able to portray the Australian landscape on varying scales, whether local or national, slowly formulating an Australian sound using “purely musical means, such as particular harmonic progressions... [and] innovative use of conventional musical signifiers” (Grimley 2006, p. 109).
Australians whose music reflects not only their individual responses to landscape but, sung in very different voices, articulates a vibrant relationship with the essence of country. Each loves this land, is acutely sensitive, in different ways, to the issues surrounding white ‘invasion’ and each looks to the Australian earth as a source of live and spirit (inspiration), rest and joy (Boyd; in Richards 2007, p. 11).
GANGgajang - Sounds of Then (This is Australia)
Lyrics:
I think I hear the sounds of then,
And people talking,
The scenes recalled, by minute movement,
And songs they fall, from the backing tape.
That certain texture, that certain smell,
To lie in sweat, on familiar sheets,
In brick veneer on financed beds.
In a room, of silent hardiflex
That certain texture, that certain smell,
Brings home the heavy days,
Brings home the night time swell,
Out on the patio we’d sit,
And the humidity we’d breathe,
We’d watch the lightning crack over canefields
Laugh and think, this is Australia.
The block is awkward - it faces west,
With long diagonals, sloping too.
And in the distance, through the heat haze,
In convoys of silence the cattle graze.
That certain texture, that certain beat,
Brings forth the night time heat.
Out on the patio we’d sit,
And the humidity we’d breathe,
We’d watch the lightning crack over canefields
Laugh and think that this is Australia.
To lie in sweat, on familiar sheets,
In brick veneer on financed beds.
In a room of silent hardiflex
That certain texture, that certain smell,
Brings forth the heavy days,
Brings forth the night time sweat
Out on the patio we’d sit,
And the humidity we’d breathe,
We’d watch the lightning crack over canefields
Laugh and think, this is Australia.
This is Australia
Out on the patio we’d sit,
And the humidity we’d breathe,
We’d watch the lightning crack over canefields
Laugh and think, this is Australia.
This is Australia
This is Australia
This is Australia
This is Australia
Check it out
Bibliography and Discography
Bibliography
• ALLdownunder 2008, Uniquely Australian: Australian Songs, Lady Luck Enterprises, viewed 20 October 2008, <http://www.alldownunder.com/oz-u/songs/index.html>
• alliewolfgal 2007, Men at work: Land down under!!! (One of their best songs!!), YouTube, viewed 26 October 2008, <http://au.youtube.com/watch?v=DNT7uZf7lew>
• angusjmp 2006, Coca Cola 1988 Australia, YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=mFVmuF0F9Hc>
• Blake, A. 1997, The Land Without Music: Music, Culture and Society in Twentieth-Century Britain, Manchester University Press, USA
• Connell, J. & Gibson, C. 2003, Sound Tracks: Popular Music, Identity, and Place, Routledge, UK
• Connell, J. & Gibson, C. 2004, ‘Vicarious Journeys: Travels in Music’, Tourism Geographies, vol. 6, issue 1, pp. 2-25
• Connell, J. & Gibson, C. 2004, ‘World Music: Deterritorializing Place and Identity’, Progress in Human Geography, vol. 28, issue 3, pp. 342-361
• Douglas, J. 2000, ‘Identity Through Sound and Image: This Is Australia?’, Transformations, vol. 1, issue 1, viewed 20 October 2008, <http://www.transformationsjournal.org/journal/issue_01/pdf/douglas.pdf>
• Emmerson, S. (ed.) & Wishart, T. 1996, On Sonic Art, Harwood Academic Publishers, The Netherlands
• Feld, S. 2001, ‘Lift-Up-Over Sounding’ in Rothenberg, D. & Ulvaeus, M. (eds.), The Book of Music and Nature, Wesleyan University Press, Middletown, pp. 193-206
• GANGgajang 2008, GANGgajang, GANGgajang, viewed 24 October 2008, <http://www.ganggajang.com/>
• Grimley, D.M. 2006, Grieg: Music, Landscape and Norwegian Identity, The Boydell Press, UK
• Hudson, R. 2006, ‘Regions and Place: Music, Identity and Place’, Progress in Human Geography, vol. 30, issue 5, pp. 626-634
• johnxxx200000 2007, Australian Aboriginal Music: Song with Didgeridoo, YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=dFGvNxBqYFI>
• Kruger, D. 2002, They Wrote the Songs: Songwriters Discuss the Stories and Inspirations Behind Their Most Famous Songs, DebbieKruger.com, viewed 23 October 2008, <http://www.debbiekruger.com/writer/aprap/songs1.html>>
• Lefebvre, H. & Régulier, C. 2004, ‘Attempt at Rhythmanalysis of Mediterranean Cities’ in Lefebvre, H. (ed.), Rhythmanalysis, Continuum, London, pp. 87-100
• levitatingbluecat 2007, GANGgajang – Sounds Of Then (This Is Australia), YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=ML9h3I5Uktw&NR=1>
• Magoffin, R. 1987, Waltzing Matilda: The Story Behind the Legend, ABC Enterprises, Australia
• Magowan, F. & Neuenfeldt, K. (eds.) 2005, Landscapes of Indigenous Performance: Music, Song and Dance of the Torres Strait and Arnhem Land, Aboriginal Studies Press, Australia
• pelepollo 2007, Coca-cola Summer Commercial (1988) Australia, YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=jqbJAIc9jSg>
• Pomegranatem 2008, GREATEST 25 MUSICIANS OF AUSTRALIAN MUSIC HISTORY (5 TO TOP), YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=X4MrZZzk128>
• Post, J.C. (ed.) 2006, Ethnomusicology, Routledge, UK
• Richards, F. (ed.) 2007, The Soundscapes of Australia: Music, Place and Spirituality, Ashgate Publishing Ltd., UK
• Schaumann, D. 2008, Australia By Song, Australia By Song, viewed 25 October 2008, <http://www.australiabysong.com.au>
• Seal, G. & Willis, R. (eds.) 2003, Verandah Music: Roots of Australian Tradition, Curtin University Books, Australia
• Shafer, R.M. 1977, The Tuning of the World, Knopf
• Stubington, J. 2007, Singing the Land: The Power of Performance in Aboriginal Life, Currency House Inc., Australia
• Toop, D. 2004, Haunted Weather: Music, Silence and Memory, Serpent’s Tail, UK
• van Leeuwen, T. 1999, Speech, Music, Sound, Macmillan
• Whiteley, S., Bennett, A. & Hawkins, S. (eds.) 2005, Music, Space and Place: Popular Music and Cultural Identity, Ashgate Publishing Ltd., UK
Discography
• A.B. ‘Banjo’ Patterson, Waltzing Matilda, 1895
• Adam Hills, Working Class Anthem, 2002
• Area-7, Nobody Likes a Bogan, Jive Records/Trademark Records, 2001
• Australian Crawl, Reckless, EMI/Geffen, 1983
• Cold Chisel, Khe Sahn, Rondor Music Aus. Pty Ltd, 1978
• Colin Buchanan, Jingle Bells, EMI Music Group Australasia, 1992
• Colin Buchanan, Kurrajong, EMI Music Group Australasia, 1992
• Colin Buchanan, Living In Town, EMI Music Group Australasia, 1992
• Colin Buchanan, North Bourke Bridge, EMI Music Group Australasia, 1992
• Colin Buchanan, When It Rained, EMI Music Group Australasia, 1992
• Eric Bogle, Band Played Waltzing Matilda, Terreiro Brazil, 1980
• GANGgajang, Sounds of Then (This is Australia), True Tone/Polygram Shock, 1985
• Gyroscope, Australia, Festival Mushroom, 2007
• John Williamson, Home Among the Gum Trees
• John Williamson, True Blue, 1981
• Jonas Brothers, Australia, Hollywood Records, 2007
• Manic Street Preachers, Australia, Sony, 1996
• Marion Sinclair, Kookaburra Song, 1932
• Men At Work, I Come From A Land Down Under, EMI Songs Aus. Pty Ltd, 1981
• Meyer Lutz, Arthur Cecil, Hamilton Clarke & Florian Pascal, Botany Bay, Little Jack Sheppard (burlesque melodrama), 1885
• Midnight Oil, Dead Heart, Columbia Records, 1986
• Peter Allen, I Still Call Australia Home, 1980
• Peter Dodds McCormick, Advance Australia Fair, 1878
• Redgum, I Was Only Nineteen, CD-ROM, Universal/MCA Music Publ., 1983
• Rolf Harris, Tie Me Kangaroo Down, Sport, EMI Records, 1963
• Unknown, Click Go The Shears
• The Seekers, I Am Australian, EMI Australia, 1987
• The Shins, Australia, Sub Pop, 2007
• The GetUp Mob, From Little Things Big Things Grow, 2008
• ALLdownunder 2008, Uniquely Australian: Australian Songs, Lady Luck Enterprises, viewed 20 October 2008, <http://www.alldownunder.com/oz-u/songs/index.html>
• alliewolfgal 2007, Men at work: Land down under!!! (One of their best songs!!), YouTube, viewed 26 October 2008, <http://au.youtube.com/watch?v=DNT7uZf7lew>
• angusjmp 2006, Coca Cola 1988 Australia, YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=mFVmuF0F9Hc>
• Blake, A. 1997, The Land Without Music: Music, Culture and Society in Twentieth-Century Britain, Manchester University Press, USA
• Connell, J. & Gibson, C. 2003, Sound Tracks: Popular Music, Identity, and Place, Routledge, UK
• Connell, J. & Gibson, C. 2004, ‘Vicarious Journeys: Travels in Music’, Tourism Geographies, vol. 6, issue 1, pp. 2-25
• Connell, J. & Gibson, C. 2004, ‘World Music: Deterritorializing Place and Identity’, Progress in Human Geography, vol. 28, issue 3, pp. 342-361
• Douglas, J. 2000, ‘Identity Through Sound and Image: This Is Australia?’, Transformations, vol. 1, issue 1, viewed 20 October 2008, <http://www.transformationsjournal.org/journal/issue_01/pdf/douglas.pdf>
• Emmerson, S. (ed.) & Wishart, T. 1996, On Sonic Art, Harwood Academic Publishers, The Netherlands
• Feld, S. 2001, ‘Lift-Up-Over Sounding’ in Rothenberg, D. & Ulvaeus, M. (eds.), The Book of Music and Nature, Wesleyan University Press, Middletown, pp. 193-206
• GANGgajang 2008, GANGgajang, GANGgajang, viewed 24 October 2008, <http://www.ganggajang.com/>
• Grimley, D.M. 2006, Grieg: Music, Landscape and Norwegian Identity, The Boydell Press, UK
• Hudson, R. 2006, ‘Regions and Place: Music, Identity and Place’, Progress in Human Geography, vol. 30, issue 5, pp. 626-634
• johnxxx200000 2007, Australian Aboriginal Music: Song with Didgeridoo, YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=dFGvNxBqYFI>
• Kruger, D. 2002, They Wrote the Songs: Songwriters Discuss the Stories and Inspirations Behind Their Most Famous Songs, DebbieKruger.com, viewed 23 October 2008, <http://www.debbiekruger.com/writer/aprap/songs1.html>>
• Lefebvre, H. & Régulier, C. 2004, ‘Attempt at Rhythmanalysis of Mediterranean Cities’ in Lefebvre, H. (ed.), Rhythmanalysis, Continuum, London, pp. 87-100
• levitatingbluecat 2007, GANGgajang – Sounds Of Then (This Is Australia), YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=ML9h3I5Uktw&NR=1>
• Magoffin, R. 1987, Waltzing Matilda: The Story Behind the Legend, ABC Enterprises, Australia
• Magowan, F. & Neuenfeldt, K. (eds.) 2005, Landscapes of Indigenous Performance: Music, Song and Dance of the Torres Strait and Arnhem Land, Aboriginal Studies Press, Australia
• pelepollo 2007, Coca-cola Summer Commercial (1988) Australia, YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=jqbJAIc9jSg>
• Pomegranatem 2008, GREATEST 25 MUSICIANS OF AUSTRALIAN MUSIC HISTORY (5 TO TOP), YouTube, viewed 25 October 2008, <http://au.youtube.com/watch?v=X4MrZZzk128>
• Post, J.C. (ed.) 2006, Ethnomusicology, Routledge, UK
• Richards, F. (ed.) 2007, The Soundscapes of Australia: Music, Place and Spirituality, Ashgate Publishing Ltd., UK
• Schaumann, D. 2008, Australia By Song, Australia By Song, viewed 25 October 2008, <http://www.australiabysong.com.au>
• Seal, G. & Willis, R. (eds.) 2003, Verandah Music: Roots of Australian Tradition, Curtin University Books, Australia
• Shafer, R.M. 1977, The Tuning of the World, Knopf
• Stubington, J. 2007, Singing the Land: The Power of Performance in Aboriginal Life, Currency House Inc., Australia
• Toop, D. 2004, Haunted Weather: Music, Silence and Memory, Serpent’s Tail, UK
• van Leeuwen, T. 1999, Speech, Music, Sound, Macmillan
• Whiteley, S., Bennett, A. & Hawkins, S. (eds.) 2005, Music, Space and Place: Popular Music and Cultural Identity, Ashgate Publishing Ltd., UK
Discography
• A.B. ‘Banjo’ Patterson, Waltzing Matilda, 1895
• Adam Hills, Working Class Anthem, 2002
• Area-7, Nobody Likes a Bogan, Jive Records/Trademark Records, 2001
• Australian Crawl, Reckless, EMI/Geffen, 1983
• Cold Chisel, Khe Sahn, Rondor Music Aus. Pty Ltd, 1978
• Colin Buchanan, Jingle Bells, EMI Music Group Australasia, 1992
• Colin Buchanan, Kurrajong, EMI Music Group Australasia, 1992
• Colin Buchanan, Living In Town, EMI Music Group Australasia, 1992
• Colin Buchanan, North Bourke Bridge, EMI Music Group Australasia, 1992
• Colin Buchanan, When It Rained, EMI Music Group Australasia, 1992
• Eric Bogle, Band Played Waltzing Matilda, Terreiro Brazil, 1980
• GANGgajang, Sounds of Then (This is Australia), True Tone/Polygram Shock, 1985
• Gyroscope, Australia, Festival Mushroom, 2007
• John Williamson, Home Among the Gum Trees
• John Williamson, True Blue, 1981
• Jonas Brothers, Australia, Hollywood Records, 2007
• Manic Street Preachers, Australia, Sony, 1996
• Marion Sinclair, Kookaburra Song, 1932
• Men At Work, I Come From A Land Down Under, EMI Songs Aus. Pty Ltd, 1981
• Meyer Lutz, Arthur Cecil, Hamilton Clarke & Florian Pascal, Botany Bay, Little Jack Sheppard (burlesque melodrama), 1885
• Midnight Oil, Dead Heart, Columbia Records, 1986
• Peter Allen, I Still Call Australia Home, 1980
• Peter Dodds McCormick, Advance Australia Fair, 1878
• Redgum, I Was Only Nineteen, CD-ROM, Universal/MCA Music Publ., 1983
• Rolf Harris, Tie Me Kangaroo Down, Sport, EMI Records, 1963
• Unknown, Click Go The Shears
• The Seekers, I Am Australian, EMI Australia, 1987
• The Shins, Australia, Sub Pop, 2007
• The GetUp Mob, From Little Things Big Things Grow, 2008
Subscribe to:
Posts (Atom)