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Indigenous Australian Music

Aboriginal Perspectives. Dialogue Education. Indigenous Australian Music.

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Indigenous Australian Music

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  1. Aboriginal Perspectives Dialogue Education Indigenous Australian Music THIS CD HAS BEEN PRODUCED FOR TEACHERS TO USE IN THE CLASSROOM. IT IS A CONDITION OF THE USE OF THIS CD THAT IT BE USED ONLY BY THE PEOPLE FROM SCHOOLS THAT HAVE PURCHASED THE CD ROM FROM DIALOGUE EDUCATION. (THIS DOES NOT PROHIBIT ITS USE ON A SCHOOL’S INTRANET).

  2. Teacher Invader • Click on the image above for a game of “Teacher invader”. Try playing the game with your students at the start and the end of the unit. Make sure you have started the slide show and are connected to the internet.

  3. Arrival and occupation of Australia • Australian indigenous music incorporates a variety of distinctive traditional music styles practiced by Indigenous Australian peoples.

  4. Arrival and occupation of Australia • Ever since the 18th century European colonisation of Australia began indigenous Australian musicians and performers have adopted and interpreted many of the imported Western musical styles.

  5. Didgeridoo • A didgeridoo is a type of musical instrument that, according to western musicological classification, falls into the category of aerophone.

  6. You Tube Australian Aboriginal Music: Song with Didgeridoo Click on the image to the left. You will need to be connected to the internet to view this presentation. Enlarge to full screen.

  7. Clapsticks • A clapstick is a type of musical instrument that, according to western musicological classification, falls into the category of percussion.

  8. Bunggul • Bunggul is a style of music that came into being around the Mann River and is known for its intense lyrics, which are often stories of epic journeys and continue, or repeat, unaccompanied after the music has stopped.

  9. Clan songs and songlines • A particular clan in Aboriginal culture may share songs, known as emeba (Groote Eylandt), fjatpangarri (Yirrkala), manikay (Arnhem Land) or other native terms.

  10. Clan songs and songlines • Songlines ("Yiri" in the Walpiri language) relate to Dreamtime, with oral lore and storytelling manifested in an intricate series of song cycles that identified landmarks and other items and tracking (hunting) mechanisms for navigation.

  11. Death Wail • A mourning lament recorded in a number of locations in central and northern Australia and among the Torres Strait Islanders.

  12. Krill Krill The Krill Krill song cycle is a music innovation from east Kimberley.

  13. Kun-borrk • Kun-borrk came into being around the Adelaide, Mann and Rose Rivers, distinguished by a didgeridoo introduction followed by the percussion and vocals, which often conclude words (in contrast to many other syllabic styles of Aboriginal singing).

  14. Wangga • Wangga came into being near the South Alligator River and is distinguished by an extremely high note to commence the song, accompanied by rhythmic percussion and followed by a sudden shift to a low tone.

  15. Contemporary trends • A number of Indigenous Australians have achieved mainstream prominence, such as Jimmy Little (pop), Yothu Yindi (Australian aboriginal rock), Troy Cassar-Daley (country) and NoKTuRNL (rap metal), the Warumpi Band (alternative or world music).

  16. Contemporary trends • Torres Strait Islander musicians include Christine Anu (pop) and Seaman Dan.

  17. You Tube My Island Home - Christine Anu Click on the image to the left. You will need to be connected to the internet to view this presentation. Enlarge to full screen.

  18. Contemporary trends • Contemporary Indigenous music continues the earlier traditions and also represents a fusion with contemporary mainstream styles of music, such as rock and country music.

  19. Contemporary trends • Country music has been particularly popular among the Australian Aboriginal and Torres Strait Islander peoples.

  20. Contemporary trends • The movie Wrong Side of the Road and soundtrack (1981) gave broad exposure to the bands Us Mob and No Fixed Address and highlighted Indigenous disadvantage in urban Australia.

  21. Bibliography • * Clinton Walker. Buried Country: The Story of Aboriginal Country Music. http://en.wikipedia.org/wiki/Clinton_Walker • * Dunbar-Hall, P. & Gibson, C., (2004), Deadly Sounds, Deadly Places: Contemporary Aboriginal Music in Australia, UNSW Press, ISBN 9780868406220 • * George Stavrias, (2005) Droppin’ conscious beats and flows: Aboriginal hip hop and youth identity, Australian Aboriginal Studies, number 2 # ^ Clinton Walker. Buried Country: The Story of Aboriginal Country Music. http://lryb.aiatsis.gov.au/PDFs/aasj05.02_stavrias.pdf • * Stubington, Jill (2007), Singing the Land - the power of performance in Aboriginal life, Foreword by Raymattja Marika, Currency House Inc., ISBN 9780980280227 (hbk.) : 9780980280234 (pbk.) • * Warren, A. & Evitt, R. (2010), Indigenous Hip hop: overcoming marginality, encountering constraints, Australian Geographer 41(1), pp. 141–158. • * Wikipedia-Indigenous Music- http://en.wikipedia.org/wiki/Indigenous_Australian_music

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