Bara and mamariga songs on groote eylandt

Moyle, Alice M.

doi:10.1080/08145857.1964.10415355

Cited by 4 publications

(1 citation statement)

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“…While the bulk of MSA members have traditionally been historical musicologists (reflecting the institutional bias of academic music studies more generally), a significant number of ethnomusicologists specializing in studies of Indigenous music-making have served as presidents of the MSA and have driven agendas in support of Indigenous music research (Wild 2006), including Alice Moyle, Catherine Ellis, Stephen Wild, Allan Marett, Steven Knopoff and Aaron Corn. The first MSA conference program of nine papers included two investigating Aboriginal musics: 'The Didjeridu: A Unique Development of a Common Musical Instrument' by Trevor Jones (1964) and 'Bara and Mamariga Songs on Groote Eylandt' by Alice Moyle (1964), both published in the first issue of its flagship journal Musicology Australia. In 2001, the late Kaytetye researcher Alison Ngamperle Ross became the first solo Aboriginal presenter at an MSA conference, beginning a steady trickle of Aboriginal and Torres Strait Islander peoples' involvement in Australian music research.…”

Section: Representation In Researchmentioning

confidence: 99%

The Fringe or the Heart of Things? Aboriginal and Torres Strait Islander Musics in Australian Music Institutions

Bracknell

Barwick

2020

Musicology Australia

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Teetering on the fringe of Australian music scholarship and knowledge institutions, research and teaching of local Indigenous musics hold a marginal place, belying the positioning of Indigenous music-makers at the centre of international representations of Australian culture, and the dynamic local connections of Indigenous music-making to Australian landscapes and social realities. Music's ubiquity and diversity worldwide show its potential as a tool to manage the changing world in societies of the past and present, yet this potential is largely neglected in contemporary Australia, and our theories and evidence base are limited by the narrow western focus within our knowledge institutions. The sheer weight of institutional investment in purportedly superior European musics prolongs Australia's characteristic cultural cringe and the trivialization of Indigenous cultures. Recent calls to decolonize music education and decentre the study of western classical music ring hollow in the Australian context because, despite the glossy pictures and stated aspirations, there is a big gap at the heart of our music institutions. Addressing this gap requires not just greater inclusion of Indigenous people and their musics, but also, we argue, advocacy for Indigenous self-determination as core business.On the one hand, settler society required the practical elimination of the natives in order to establish itself on their territory. On the symbolic level, however, settler society subsequently sought to recuperate indigeneity in order to express its difference-and, accordingly, its independence-from the mother country. (2006, 389) As a consequence, at various points of the Australian settler colonial project, Indigenous musics have risked eradication and appropriation (Haebich 2018; Harris 2020).

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Section: Representation In Researchmentioning

confidence: 99%