This thesis seeks to describe the indigenous realities, meanings, and perspectives that are central to the music and dance practices of the Lak (Siar) people in Southern New Ireland, Papua Now Guinea. The insights recorded here are those gained through the experience of twenty-three months living in Rei and Siar villages as a participant in many aspects of Lak social life. The music and dance practices of the region are examined in the context of the wider social and cultural setting. Lak performance realities, are indivisible from kinship structures, ritual proceedings and spirituality. By contextualising Lak music and dance within the frame of the extensive and socially defining mortuary, rites my intention is to show how music and dance not only reflect but also create Lak realities. By examining the ethnographic materials relating to music, dance and performance in the context of mortuary sequence broader elements of Lak society are brought into focus. In these pages I argue that Lak society is reproduced literally and symbolically in these performances.

This pilot study examined the effects of single sessions of music therapy on the level of anxiety in older persons with psychiatric disorders. The studied intervention was a 30 minute music therapy group and the control intervention was a verbal therapeutic intervention in the form of a reminiscence group. Participants acted as their own control. The measurement tool was the state part of a “State Trait Anxiety Inventory”. It was administered a total of four times, pre- and post- the music therapy intervention and preand post- the reminiscence therapy (control) group. A total of 9 participants were recruited for the study. The results indicated that single sessions of music therapy significantly reduced the level of anxiety for older persons with psychiatric disorders [t(8)=4.626, p<0.0017] as compared to the control intervention as measured by the state part of the “State Trait Anxiety Inventory”. There was no evidence for a significant carryover effect since the baselines prior to each intervention did not differ significantly (p=0.55). These results can be considered to be a part of a pilot study and early inquiry into this field since methodological difficulties and the time limitation of the research resulted in some necessary deviations from the original protocol. A major limitation of the study was the choice of a measurement tool, which required the client to be cognitively high functioning. Thus these results are limited to cognitively able clients, which is a relatively small proportion of this client group that could potentially benefit from music therapy. It is suggested that for future research with this client group the measured variable be physical relaxation, rather than anxiety.

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

Audio files not uploaded onto institutional repository due to copyright restrictions: Hayes, T. & Clark, T. The New York sessions. / Tubby (Edward Brian) Hayes; prodigious self taught multi-instrumentalist and virtuoso tenor saxophone player has been proclaimed by some to be the best saxophonist that Britain has ever produced: "Indisputably the most accomplished and characterful British jazzman of his generation." His career, although cut short (he died undergoing treatment for a heart condition in June 1973, aged 38) was perpetually intense, incredibly prolific, and non-stop from his debut at the age of fifteen until his premature death. Hayes was proficient on many instruments; all saxophones, clarinet, flute, violin and vibraphone as well as being an accomplished bandleader and arranger. However it was his virtuoso tenor saxophone playing that found him acclaim. Although well known in his time and widely renowned for his ability, Hayes until recently has been little studied. It is only in the last few years that many critics and students of jazz have attempted to gain an understanding of Hayes' improvisational concept, which has been both praised as genius and criticised as directionless: Tubby Hayes has often been lionized as the greatest saxophonist Britain ever produced. He is a fascinating but problematical player. Having put together a big, rumbustious tone and a delivery that features sixteenth notes spilling impetuously out of the horn, Hayes often left a solo full of brilliant loose ends and ingenious runs that led nowhere in particular... However, Hayes, his legacy, and his inimitable style of tenor saxophone playing would truly leave their mark on the British Jazz community for generations to come. Dave Gelly summed up Hayes by saying that Tubby "played Cockney tenor - garrulous, pugnacious, never at a loss for a word and completely unstoppable."

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.

Indigenous Australian women who perform contemporary music are acutely aware that Aboriginalist discourse has created unrealistic expectations and public perceptions of Indigenous Australian performance. The theory of Aboriginalism is critiqued and interrogated in this thesis in relation to Indigenous Australian women, performance, and race. This thesis addresses the complex and contradictory ways that Aboriginalist discourse fixes non-Indigenous expectations of Indigenous Australian performance, gender, and race by exploring how the performers themselves work within and against these Aboriginalist constructions through their music. One of the immediate effects of Aboriginalism is that it silences Indigenous Australians. In academic discourse and popular media, the voices of Indigenous women who perform contemporary music are rarely heard and often overlooked or ignored. This thesis aims to redress and understand this gender imbalance by focusing on Indigenous women and their contemporary music and illustrate how Indigenous Australian women performers are enacting new types of agency to negotiate their way through, around, and over one-dimensional Aboriginalist constructions of themselves to self-define more positive and diverse identities as Indigenous Australian women. This thesis is divided into four parts. Part One (Chapters One, Two, and Three) provides necessary background to the study. Chapter One introduces the topic and poses research questions in relation to Aboriginalism, Indigenous women, and contemporary performance. Chapter Two examines a number of themes which emerge in the existing literature relating to Indigenous Australian musicians performing contemporary music. Chapter Three locates Indigenous Australian women in this academic discourse and explores some possible reasons for the increasing number of contemporary music recordings by Indigenous Australian women since the 1990s. Part Two (Chapters Four, Five, and Six) positions this study theoretically and methodologically. Chapter Four outlines the theoretical framework that informs this project while Chapter Five discusses the methodological issues and challenges I faced throughout the research process. Chapter Six introduces the Indigenous women performers who took part in this study. This chapter uses the literary convention of a “playlet” by weaving together comments of Indigenous Australian women performers from one-on-one interviews I conducted, media excerpts about the performers, as well as my own questions and comments into a conversation which tells a story about the performers’ backgrounds, experiences, albums, and achievements. Part Three (Chapters Seven, Eight, and Nine) comprises the analysis chapters and examines Aboriginalism in relation to race, gender, and performance. Each of these chapters utilise theoretical discussions of Aboriginalism, excerpts from interviews with Indigenous women performers, song texts, and media representations to examine how Indigenous women perform within and against Aboriginalism. Chapter Seven focuses on how Indigenous women performers resist Aboriginalist constructs of race through performance while Chapter Eight turns the gaze to gender and Aboriginalism to explore how the performers challenge Aboriginalist representations of Indigenous women by attempting bring Indigenous women’s experiences, history, and topics to the foreground through song. Chapter Nine examines the way in which Indigenous women performers steer their way through Aboriginalism in music performance by blurring musical boundaries and drawing on a diverse range of musical styles. Finally, Part Four (Chapter Ten) discusses the possibilities of moving beyond Aboriginalism and reflects on my own contribution to discourse concerning Indigenous women performers.