0

AUSTRALASIAN

MUSIC AT

HOME AND

ABROAD

43RD ANNUAL CONFERENCE OF THE

MUSICOLOGICAL SOCIETY OF

AUSTRALIA

HOSTED BY

THE MELBOURNE CONSERVATORIUM

OF MUSIC CELEBRATING ITS 125TH

ANNIVERSARY

3 – 5 December 2020

1

WELCOME

2020 marks 125 years since the establishment of the Conservatorium of Music at the

University of Melbourne. We are delighted that the MSA has allowed us to link our

celebration of this event with the 43rd MSA national conference, in conjunction with

the 19th Symposium on Indigenous Music and Dance. Our initial projected grand

celebrations have necessarily had to be curtailed because of COVID and sadly we

are not able to physically showcase the splendour of our new building to

musicologists and ethnomusicologists across the country and indeed the world. But

this current online conference is still a very special event for us, which truly marks

our history (a history which is directly addressed by our two wonderful keynotes) and

more generally contextualises our history by its theme, Australasian Music Making:

At Home and Abroad. We have an exciting programme with outstanding scholars

from across Australia, New Zealand and the world, addressing many different

aspects of our theme, and beyond. I am sure that wherever you are watching you will

thoroughly enjoy the conference.

– Kerry Murphy, Convenor

I am delighted to welcome you to the 43rd National Conference of the Musicological

Society of Australia, held in conjunction with the 19th Symposium on Indigenous

Music and Dance. I am also thrilled that the aforementioned events offer us all the

opportunity to celebrate the 125 years since the founding of the Conservatorium of

Music at the University of Melbourne. While the National Conference and

Symposium are taking place virtually due to Covid-19, it is reassuring that so many

researchers from across Australia, New Zealand and the world will be able to come

together to highlight the social, cultural, historical, political and scientific importance

of music and music making. I hope that you will be able to attend as many sessions

as possible and engage in lively and collegial debate. We exercise our scholarship,

and undertake research in many different ways. This, then, is an opportunity to

share, grow and enjoy.

– Jonathan McIntosh, MSA President

2

Conference Team Convenor: Kerry Murphy

Conference Organiser: Sarah Kirby

Organising Committee: John Gabriel, Fred Kiernan, Linda Kouvaras, Tiriki Onus, Sally Treloyn

Program Committee: Linda Kouvaras (Chair), Michael Christoforidis, John Gabriel, Rachel Orzech

Web Support: Kristal Spreadborough

Treasurer: Peter Campbell

SIMD Convenors: Tiriki Onus and Sally Treloyn

SIMD Organising committee: Tiriki Onus, Sally Treloyn, Megan McPherson

MSA Access and Equity Officer: Anthea Skinner

Our physical Faculty meets to make, teach and research art on the lands of the Wurundjeri and Boon Wurrung peoples of the Kulin nation, who have been custodians of this land for tens of thousands of years where they have practiced song, ceremony and art belonging to this country. We acknowledge that sovereignty to this land has not been ceded, and pay our respects to their Elders past and present, as well as to Aboriginal and Torres Strait Islander people connected to the wider Melbourne community. We meet virtually for this conference on the lands of many other Indigenous nations and peoples; we acknowledge their elders, past present and emerging.

3

CONTENTS Welcome ...................................................................................................................................................... 1

Conference Team ....................................................................................................................................... 2

Contents ...................................................................................................................................................... 3

ZOOM INSTRUCTIONS ...................................................................................................................... 4

For Delegates ........................................................................................................................................ 4

For Presenters ....................................................................................................................................... 4

PROGRAMME ......................................................................................................................................... 6

KEYNOTES AND ROUNDTABLES .............................................................................................. 18

Keynote 1: Brenda Gifford Journey of a Yuin composer: Change, challenges and

crossroads ............................................................................................................................................. 18

Keynote 2: Dylan Robinson Queens University, Canada thá:ytset: shxwelí li te

shxwelítemelh xíts'etáwtxw / Reparative Aesthetics: The Museum’s Incarceration of

Indigenous Life .................................................................................................................................... 18

Keynote 3: Peter Tregear University of Melbourne Conflicts, Constitutions, and the ‘Con’

................................................................................................................................................................. 19

Keynote 4: Suzanne Robinson Melbourne Conservatorium of Music “Neither Athletes

nor Blue stockings”: Women in the Music Profession in Melbourne, 1892–1912 .............. 20

Roundtable 1: Beethoven and Australia: Reflections on his 250th Anniversary ................. 20

Roundtable 2: Ethnomusicology and Musicology in Australia: The Next 125 Years ....... 21

SPECIAL EVENTS AND ACTIVITIES ......................................................................................... 22

Book Launches..................................................................................................................................... 22

Virtual Bookstand ............................................................................................................................... 23

Multivocal Exhibition........................................................................................................................ 23

Tour of the Ian Potter Southbank Centre..................................................................................... 24

Social Events ........................................................................................................................................ 24

ABSTRACTS AND PRESENTER BIOGRAPHIES .................................................................... 26

PRESENTER INDEX ........................................................................................................................ 127

4

ZOOM INSTRUCTIONS GENERAL ZOOM INSTRUCTIONS FOR DELEGATES

Make sure you have Zoom installed on your computer well in advance of the conference.

You may have Zoom available through your institution, otherwise, you can download the

Free ‘Basic’ version of Zoom by signing up here: https://zoom.us/pricing

Links for Stream A, B, C & D and special events like book launches will be emailed to

you the evening before each day of the conference. To join a session, click on the

appropriate stream link at the time of the paper you wish to see.

Microphones will be automatically muted on entry. If you wish to speak, you can unmute

yourself by clicking on the microphone symbol in the lower left-hand corner of the window,

or temporarily by holding down the spacebar on your keyboard. Please keep yourself muted

during presentations unless called on to speak by the presenter or session chair.

You have the option to have your camera on or off. If possible, please keep your camera

on—it’s much nicer speaking to a screen of faces than blank squares! But the option to turn

off remains available to you by clicking the ‘video’ symbol in the bottom left-hand corner of

your screen.

There is also a ‘chat’ option, which can be used to submit comments and questions. Your

messages are set to be visible to everyone in the session. There is an option to chat privately

with another attendee, but please also be aware that transcripts of these conversations can

be read by the meeting hosts.

At the end of each talk, the chair will select questions from the chat for the speaker to

answer, and also call on participants to ask other questions live.

ZOOM INSTRUCTIONS FOR PRESENTERS

Please join your scheduled session ten minutes early to test your microphone and any

slides or audio you may be using.

You will be put in contact with both your session chair and a dedicated tech assistant before

the conference. Please provide a copy of your powerpoint slides (if you are using them)

to your tech assistant NO LATER than one week before the conference. These will be a

back-up copy in case you run into difficulties on the day.

Zoom provides some information on best practices for

presenting https://support.zoom.us/hc/en-us/articles/209743263-Meeting-and-

Webinar-Best-Practices-and-Resources

Make sure your microphone remains muted until it is your turn to give your presentation.

https://protect-au.mimecast.com/s/fbIBC1WZKqhMx3qB4TpRI6O?domain=protect-au.mimecast.comhttps://protect-au.mimecast.com/s/GrtiC2xZLrcpW18ZYU2dgKi?domain=protect-au.mimecast.comhttps://protect-au.mimecast.com/s/GrtiC2xZLrcpW18ZYU2dgKi?domain=protect-au.mimecast.com

5

For instructions on sharing your screen (to allow delegates to see your powerpoint, for

example)

see: https://www.youtube.com/embed/YA6SGQlVmcA?rel=0&autoplay=1&cc_load_pol

icy=1

If you are intending to play musical or video examples it is very important that you click

the ‘share computer sound’ check box when starting to share your screen. Further

information here: https://support.zoom.us/hc/en-us/articles/201362643-Sharing-

Computer-Sound-During-Screen-Sharing

Please make sure your paper runs to time. Long zoom sessions can be exhausting for

viewers and breaks are factored in to the programme, so papers should be no longer than 20

minutes to make the most of these breaks.

https://protect-au.mimecast.com/s/P3_wC3Q8MvCpoq29kUQe01H?domain=protect-au.mimecast.comhttps://protect-au.mimecast.com/s/P3_wC3Q8MvCpoq29kUQe01H?domain=protect-au.mimecast.comhttps://protect-au.mimecast.com/s/gNjcC4QZNwCBEgl9VcMW-uz?domain=protect-au.mimecast.comhttps://protect-au.mimecast.com/s/gNjcC4QZNwCBEgl9VcMW-uz?domain=protect-au.mimecast.com

6

PROGRAMME Thursday 3 December

Stream A – Symposium on

Indigenous Music and Dance and

Symposium on Indigenous Arts

and Culture in the Academy

Stream B Stream C Stream D

9:00am MSA AGM

10:00am Welcome to Country – N’Arweet Carolyn Briggs

Conference Opening – Richard Kurth

Chair – Tiriki Onus

11:00am KEYNOTE 1 (SIMD)

Brenda Gifford

Journey of a Yuin composer: Change, challenges and crossroads

Chair – Sally Treloyn

12:00pm Lunch Break Lunch Break

Stream B study group: Gender

and Diversity Forum

Chair: John Phillips

Lunch Break

Stream C study group: Australian

Music

Chair: Michael Hooper

Lunch Break

7

1:00pm Session 1A: Reviving

and Reclaiming through Songs,

Composition and Singing

Chair: Amanda Harris

Clint Bracknell, Trevor Ryan

and Roma Yibiyung Winmar

– Mayakeniny: Increasing

Community Access to

Noongar Song

James Henry – Traditional

Song in Contemporary

Contexts

Jesse Hodgetts –

Ngiyangilanha Ngiyampaa

Guthi Wirradhurray Guthi –

Notating Traditional

Ngiyampaa and Wiradjuri

Songs

Session 1B: Nineteenth Century

Music in Australia

Chair: Kerry Murphy

Jan Stockigt – ‘Madame

Boema’s Splendid Soprano

Voice’: The Australian Career

of Gabriella Roubalová,

1879–1922

Jula Szuster – Philipp Oster’s

Album: Evidence of an Early

South Australian Music

Library

Rosemary Richards – ‘Copied

while lying to in a gale’:

Robert Wrede’s Manuscript

Music Collection

Session 1C: Opera: Structure,

Shape, and Society

Chair: Denis Collins

Brigette De Poi – The

Commercialisation of Public

Opera in 17th-Century Venice

and its Influence on

Composers

Alan Maddox – Rhetorical

Expression and Political

Strategy in Antonio Caldara’s

L’ingratitudine gastigata

Session 1D: Creativity and

COVID-19

Chair: Louise Devenish

Alexander Hew Dale Crooke,

Jane W. Davidson, and

Trisnasari Fraser – COVID-19,

Music Communities and

Bridging Capital

Brent Keogh – ‘Catch My

Disease’ - Ethnographies of a

Virus as Told by

Contemporary Western Art

Musicians

Frederic Kiernan and Jane W.

Davidson – Musical

Creativity and Wellbeing

During the COVID-19

Pandemic in Australia: A

Qualitative Study

2:30pm Tea Break

Launch of Indigenous

Knowledges Institute

MC: Tiriki Onus

Tea Break

3:00pm Session 2A: Inclusion, Legacies

and Futures

Chair: Linda Barwick

Muriel Swijgheusen and

Aaron Corn – Singing and

Dancing DORA: The San

Session 2B: Australia and New

Zealand in Empire

Chair: Rachel Orzech

Robert James Stove –

Outposts of the Empire:

Session 2C: Improvisation

across the Centuries

Chair: Nick Freer

Timothy Clarkson – Towards

an Ethical Framework for the

Session 2D: Music, Isolation

and COVID-19

Chair: Anthea Skinner

Cat Hope, Louise Devenish

and Aaron Wyatt – Two

Minutes From Home: A

8

Francisco Declaration of

Research Assessment and its

implications for Indigenous

Australian participation in

Academia

Sylvia Nannyonga-Tamusuza

– Double-edged Sword of

Colonial Archives: The

Dilemma of Defining

“Indigenous” Music in

Uganda

Tiriki Onus, Sally Treloyn

and Megan McPherson:

Biganga Bayiya (singing the

possum): Three years of the

Research Unit for Indigenous

Arts and Cultures

Stanford Pupils’ Australian

Division

Sarah Kirby – ‘Objects to be

seen’ and ‘objects to be

heard’: The Piano at

Nineteenth-Century

International Exhibitions in

Australia

Francis Yapp and Joanna

Szczepanski – Arthur Lilly

and the 1916 Festival of New

Zealand Music: A Search for

Language and Tradition

Ahead of its Time

Johanna Selleck – From

Sterling to Currency:

Representing identity in

Colonial Australia through

Music Reviews and Cartoons

Tonnetz as a Tool for Analysis

of Jazz Improvisation

Gemma Turvey – 18th-

Century Solfeggi and Third

Stream Ear Training:

Creating a Foundation for

Teaching Improvisation to

Classical Music Students

Anthony Abouhamad –

Playing the Partitura: Mozart

as Organ Accompanist

Helen Kasztelan Chapman –

Bartók’s Improvisations Op.

20: Exploring Music

Perception and Cognition

Community of Practice

Response to COVID-19

Impacts

Damien Ricketson –

Creativity, Connection and

Covid: New Music for

Isolated Performers

Sally Walker – 1:1 Concerts:

A Diaspora of Concert Hall

Refugees Find New

Performance Spaces

Christina Green – Post-

Doctoral Pathways as a

Composer/Performer –

Onward and Outward amidst

the Unexpected Challenges of

2020

5:00pm Tea Break

Book Launch:

Amanda Harris Representing Australian Aboriginal Music and Dance 1930–1970

Chair: Liza Lim

5:30pm Session 3A:

Presentation/Performances

Chair: Clint Bracknell

Robin Ryan and Chelsy

Atkins – 'Mother Earth is

Hurting': Adapting an

Session 3B:

Roundtable 1 –

Beethoven and Australia: Reflections on his 250th Anniversary

Michael Christoforidis, Anna Goldsworthy, David Larkin, and Peter McCallum

Chair: Warren Bebbington

9

Indigenous Lament Through

a Time of Ecological Grief

Genevieve Campbell and the

Tiwi Strong Women's group

– Tiwi Yilaniya: Healing in

Song and Ceremony

7:00pm END

10

Friday 4 December

Stream A (SIMD) Stream B Stream C Stream D

9:00am KEYNOTE 2 (SIMD):

Dylan Robinson, Queens University

thá:ytset: shxwelí li te shxwelítemelh xíts'etáwtxw / Reparative Aesthetics: The Museum’s Incarceration of Indigenous Life

Chair: Barb Bolt

10:00am Tea Break

Celebration of the Jan Stockigt Musicology Australia Volume

Hosts: Kerry Murphy, Fred Kiernan, Andrew Frampton and Jan Stockigt

10:30am Session 4A: [Panel] Music,

Dance and the Archive:

Reclaiming Indigenous

Performance Histories

Chair: Amanda Harris

Amanda Harris, Linda Barwick,

Jakelin Troy, Matt Poll, Tiriki

Onus, Lyndon Ormond-Parker,

Sharon Huebner, Jacqueline Shea

Murphy, Jack Gray, Rosy Simas,

Shannon Foster and Nardi

Simpson

Session 4B: Musical Patronage,

Dissemination and Promotion

Chair: Alan Maddox

Hannah Spracklan-Holl –

Songtexts in Context: New

Light on Devotional Music in

the Private Lives of

Seventeenth-Century

Protestant German

Noblewomen

Peter Campbell – “An

Englishman, an Irishman and

a Scotsman Walk out of a Bar

…”: Philanthropy and the

Promotion of Musical

Activity at Australia’s Early

Universities

Kerry Murphy and Madeline

Roycroft – Louise Dyer and

Session 4C: Sonata Form:

Analysis and Philosophy

Chair: Maurice Windleburn

Rafael Echevarria – Musical

Modernity and Dialectical

Deformations: Listening

under the New Formenlehre

Paradigm

Koichi Kato – “Paving the

way toward a grand

symphony:” Schubert’s

rotational principle in the B-

minor and C-major

Symphonies

Daizhimei Chen – The time

is out of joint: Narrative

(re)ordering in

Mendelssohn’s A

Midsummer Night’s Dream

Session 4D: [Panel] – Becoming

Bird: Transcription,

Composition, Performance

Chair: Sally Ann McIntyre

Hollis Taylor – Australian

Birdsong Transcription,

(re)Composition,

Performance: A Feedback

Loop

Eleanor Brimblecombe –

Understanding Climate

Change through the Musical

Appropriation of Australian

Birdsongs

Sally Ann McIntyre – Huia

Transcriptions: Listening

Beyond the Extinct Sound

Archive

11

Les Six: Publisher, Friend,

Promoter, from France to

Australia

12:00pm Lunch Break

Stream A study group: National

Recording Project for Indigenous

Performance in Australia

(NRPIPA)

Chairs: Aaron Corn and Brigitta

Scarfe

Lunch Break

Stream B study group: Opera

Studies

Chair: Alan Maddox

Lunch Break Lunch Break

1:00pm Session 5A: Listening:

Indigenous Archives and Voices

Chair: Genevieve Campbell

Mary Ingraham, Bert

Crowfoot and Tom

Merklinger – Coming Full

Circle: Digitizing the

Ancestors and Re-sounding

Cultural Voices

Calista Yeoh – ‘We sing it

this way, they sing it that

way’: Analysing Wanji-wanji

Gemma Turner – Aboriginal

And Torres Strait Islander

Sung Voice Qualities:

Potential Methods For

Description, Communication

And Analysis

Session 5B: Music & Dance

Chair: Catherine Falk

Niall Edwards-FitzSimons –

Acehnese Sitting Dances in

Sydney and Melbourne

Jeanette Mollenhauer –

Points of Contact, Acts of

Transfer: Dance

Transmission from Europe to

Australia

Catherine Ingram and Mary

Mamour – ‘Our Culture is

Growing in a Different Way’:

Understanding Developments

in Dance-Music Connections

in South Sudanese Australian

Culture and Community

Session 5C: Musical Structures

Chair: Michael Hooper

Nicholas Freer – John

Coltrane: Decoupling and

Repurposing Elements of

Tonal Cadential Progression

in Jazz

Natalie Williams –

Contemporary Counterpoint,

Defining Historical

Allegiances in Twentieth-

Century Contrapuntal

Practice

Maurice Windleburn –

Musical Hyperrealism:

Exploring Noah

Creshevsky’s Compositions

Through Jean Baudrillard’s

Ideas

Session 5D: Discovery and

Rediscovery

Chair: Helen English

David Larkin – A Stylistic

Crossroads: Sardanapalo

and the Reassessment of

Liszt

Melanie Plesch – From

Buenos Aires to Melbourne:

Towards a Performance

History of Alberto

Ginastera’s Second

Symphony (‘Elegíaca’)

Ken Murray – Random

Reflections: The Guitar

Music of Ian Bonighton

12

2:30pm Tea Break

3:00pm Session 6A: Revitalisation and

music vitality

Chair: Reuben Brown

Rona Charles and Sally

Treloyn – Repatriated

Recordings and Music

Vitality in the Kimberley

Margaret Kartomi – Origin,

Change and Revitalisation of

the Indigenous Gamolan

Pekhing and Adolescent

Dances in Lampung,

Indonesia

Erin Matthews – Bora: The

Past, the Present, the Future.

A Study of Indigenous

Acculturation In Lockhart

River

Georgia Curran and Calista

Yeoh – “That is why I am

telling this story”: Some

Insights from Musical

Analysis of the Wapurtarli

Song Set Sung by Warlpiri

Women from Yuendumu

Session 6B: Instruments: New

Works, New Performers, New

Techniques

Chair: Johanna Selleck

Nessyah Gallagher –

Australian-French

Saxophone Connections: The

Letters between Peter Clinch

(1930–1995) and Jean-Marie

Londeix (b. 1932)

Jonathan Fitzgerald – The

Intersection of Light and

Sound: An Examination of

Compositional Approaches in

Multimedia Works for

Electric Guitar and Visual

Projections

Louise Devenish –

Instrumentality, Virtuosity

and the ‘Specialist Non-

Specialist’ in Australian New

Music

Thomas Laue – New Bells,

New Music, and New

Audiences in Mid- and Post-

Pandemic Australia

Session 6C: Cosmopolitan

Popular Music in Australia

Chair: Elizabeth Kertesz

Ross Chapman – Percy

Grainger's Saxophone

John Whiteoak – ‘In the

Gypsy Manner’: Continental

Music in Inter- and Post-War

Australian Entertainment

History.

Aline Scott-Maxwell –

Carosello: Australia’s First

Televised Italian Variety

Show as a Pre-multicultural

Commercialised Window

into the Italian-Australian

Popular Music Scene

Session 6D: Politics and

Identity in Music in the 21st

Century

Chair: Fred Kiernan

Meena De Silva – Beychella:

How Beyonce’s 2018

Coachella Performances Shed

Light on Black Culture

Linda Kouvaras – The

Composer Herself:

Contemporary Snapshots

Cassandra Gibson – The

(mis)Representation of

Musical Women and Men:

Navigating Gender Identity

and Sexual Agency in the

Classical Music Industry

Benjamin Hillier and Ash

Barnes – Wolf in Sheep’s

Clothing: Extreme Right-Wing

Ideologies in Australian Black

Metal

5:00pm Tea Break

Performance

Lorraine Nungarrayi Granites,

Tea Break

13

Alice Napanangka Granites,

Audrey Napanangka Williams,

Ida Nangala Granites and Pamela

Nangala Sampson – Yawulyu

Puturlu-wardingki – Women’s

Songs from Mt Theo

Chair: Georgia Curran

5:30pm Session 7A: Country and

Collaboration

Chair: Aaron Corn

Gillian Howell and Natalie

Davey – Flow and Other

Stories: Songs as Place-

markers in the Fitzroy Valley

Bianca Beetson, Vicki

Saunders, Leah Barclay and

Sarah Woodland – Listening

to Country: Exploring the

Role of Acoustic Ecology in

Connection to Country and

Wellbeing

Sam Curkpatrick and Daniel

Wilfred – Shimmering

Brilliance: A Yolŋu Aesthetic

of Collaboration and

Creativity [incorporating

book launch of same name]

Session 7B: KEYNOTE 3 (MSA)

Peter Tregear, University of Melbourne

Conflicts, Constitutions, and the ‘Con’

Chair: Richard Kurth

7:00pm END

14

Saturday 5 December

Stream A (SIMD) Stream B Stream C Stream D

9:00am Session 8A: Maintaining

Indigenous Knowledges in New

Musical Forms

Chair: Dan Bendrups

Tzutu Kan, Pedro Cruz and

M.C.H.E. – Maya

Cosmovicion and Hip Hop

Jaas Newen and Chilkatufe

– Pangui Lef: Hip-Hop

Mapuche

Philip Matthias, John

Parsons, Marshal Meppe-

Sailor and Toby Whaleboat

– The Coming of the Light:

Maintaining Traditions on

the Mainland

9:30am start

Session 8B: Inter- and Post-

War Politics

Chair: John Gabriel

Madeline Roycroft – ‘Allons

au-devant de la vie’:

Shostakovich and the Front

populaire campaign in 1930s

France

Rachel Orzech – Wagner in

the Eyes of the French

Resistance Press, 1941–1944

Cameron McCormick – A

Political Turn:

Representations of the War in

T.S. Eliot’s Four Quartets,

Picasso’s Guernica and

Stravinsky’s Symphony in

Three Movements

Session 8C: Instruments:

History and Techniques

Chair: Rosemary Richards

Jacinta Dennett – Fusing

Carlos Salzedo’s

“Fundamental Harpistic

Gesture” and Rudolf

Steiner’s Eurythmy, through

Performing Helen Gifford’s

Fable (1967) for solo harp.

Alison Catanach – Flute

Playing in Eighteenth-

Century Britain: A

Gentlemanly Pastime

Thomas Rann – The

Aristocratic Cello: A

Performative Biography of

Count Matvei Vielgorsky—

Cellist, Dedicatee,

Commissioner, and

Impresario

Khalida de Ridder –

Applying Lucien Capet’s

Bow Division Notation

System to Repertoire

9:30am start

Session 8D: Traditions,

Religion and Cultural Identity

Chair: Adrian McNeil

Jesse Dass – The Origins,

Cultural Significance, and

Rhythm of Hadrah and

Gambusan in Lampung

John Napier – From

Traditionalists to Glocalists

(and Back): Young South

Indian Performers in

Australia

Victoria Parsons – An Army

in Conflict: The Changing

Musical and Cultural

Identity of the Salvation

Army in Australia

15

11:00am Tea break

Book Launch:

Teresa R. Balough and Kay Dreyfus, Distant Dreams: The Correspondence of Burnett Cross and Percy Grainger 1944–1960

Chair: Vincent Plush

11:30am Session 9A: Dance: Indigenous

Approaches and Perspectives

Chair: Carol Brown

Liz Cameron and Gretel

Taylor – Barefoot on

Country: Cultural Dance

Participation and Social and

Emotional Wellbeing

Jorge Poveda Yánez – From

Cannibalising Regimes to

Indigenous Futurism: The

Role of New Technologies to

Prevent Misappropriation of

Indigenous Dances

Presentation/Performance

Marisol Vargas – ‘Iñ che Kay

Che’ (here am I the woman

and the man that still lies in

me) Study–Research that

Explores the Performance

that Would Change to an Art

Installation

Session 9B: Music and the

Visual

Chair: Tim Daly

Denis Collins – Giovanni

Maria Nanino at the

Intersection of Visual Arts

and Musical Practice in

Early 17th-century Rome

Thalia Laughlin – Reflections

on Early Music Publishing:

Marie Laurencin’s Venus and

Adonis

Elizabeth Kertesz – Rupert

Bunny and Echoes of Spain

Andrew Callaghan – The

Sonorous Mould:

Indexicality, Inaudibility and

Truth-claims in Hildur

Guðnadóttir’s Score for

Chernobyl

Session 9C: The Evolution of

Postwar Australian Music

Chair: Aline Scott-Maxwell

Holly Caldwell – From

Anglophile to Apple Isle

Advocate: Composer Don

Kay and the Development of

a Tasmanian Voice

Emma Townsend – From the

Tropics to the Snow (1964):

The Expansion of White

Masculine Nation-Building

Emotions in Commonwealth

Government Film Scores of

the Mid-1960s

Stephanie Shon –

‘Biographical Milestones’:

Interpreting Sixty Years of

Larry Sitsky’s Stylistic

Evolution in Australia

(1959–2019) through a

Comparative Analysis of his

Compositional Shifts

Michael Hooper – Barry

Conyngham after Princeton:

Serialism and Sky (1977).

Session 9D: Access, Solidarity

and Inclusion

Chair: Linda Kouvaras

Alex Hedt – The Aussie

d/Deaf Music Lover:

Redefining Access,

Participation and Identity

Ellan Lincoln-Hyde and

Jenny Guilford – (In)Equal

Temperament: Enabling

Intercultural Performance

Collaboration through

Public Installation Sound Art

Katrina McFerran, Grace

Thompson, Anthea Skinner

and Tess Hall – Using

Online Music Gatherings to

Support Social Inclusion for

People with Disabilities in

Australia during the COVID-

19 Crisis

Helen English and Jane W.

Davidson – Australian Street

Music: Critical

Consciousness, Solidarity

and Self-Realisation through

16

the Medium of a Street

Opera in Melbourne

1:30pm Lunch Break

Performance/Demonstration: David Manmurulu, Jenny

Manmurulu, Rupert Manmurulu,

Renfred Manmurulu, Solomon

Nangamu, Reuben Brown and

Isabel O’Keeffe,

New environments for

exchanging manyardi Chair: Reuben Brown

Lunch Break

2:30pm Session 10A:

Performance/Demonstrations

Chair: Tiriki Onus

Anita Asaasira and Mseto

Nation – From Archives to

Repertoire: MsetoNation

Band’s Definition of a

“Ugandan Sound”

James Howard –

Reclamations of Cultural

Identity through Music

Composition and

Performance

Session 10B: KEYNOTE 4 (MSA)

Suzanne Robinson, MCM

“Neither Athletes nor Blue stockings”: Women in the Music Profession in Melbourne, 1892–1912

Chair: Inge van Rij

17

4:00pm Tea Break

4:30pm Session 11

Roundtable 2 –

Ethnomusicology and Musicology in Australia: The Next 125 Years

Peter Tregear, Sarah Collins, Linda Barwick, and Clint Bracknell

Chair: Malcolm Gillies

6:00pm Closing Remarks

Student Prizes

18

KEYNOTES AND

ROUNDTABLES

KEYNOTE 1: BRENDA GIFFORD

JOURNEY OF A YUIN COMPOSER: CHANGE, CHALLENGES AND

CROSSROADS

Thursday 3 December, 11:00am

Registration:

https://unimelb.zoom.us/webinar/register/WN_XvVZ7tJdTiulaFgFS_EqDg

Brenda Gifford is a Yuin woman from south coast NSW. She is part of a hopeful vision for

the future of Aboriginal women composers, musicians and diverse people, in positions of

power and creative control. In this keynote, Brenda will talk about her own journey as an

Aboriginal musician, working and touring with pioneer Aboriginal reggae artist Bart

Willoughby and Mixed Relations, and now a classical composer writing for the Sydney

Symphony Orchestra and beyond. Drawing on decades of experience, Brenda will look at

how the industry has changed and how Aboriginal women composers and musicians still

face challenges in the music industry: “I feel we are at a crossroads of great possibilities for

Indigenous composers and musicians in the classical realm”.

Brenda Gifford | Yuin composer, https://www.brendagifford.com/about

KEYNOTE 2: DYLAN ROBINSON

QUEENS UNIVERSITY, CANADA

THÁ:YTSET: SHXWELÍ LI TE SHXWELÍTEMELH XÍTS'ETÁWTXW /

REPARATIVE AESTHETICS: THE MUSEUM’S INCARCERATION OF

INDIGENOUS LIFE

Friday 4 December, 9:00am

Registration:

https://unimelb.zoom.us/webinar/register/WN_2eWu0EQeSUmxzaohe2f28g

Across the globe, museums filled with glass and plexiglass vitrines display collections of

Indigenous belongings. These cases render the life they contain into objects of display,

things to be seen but not touched. Alongside the life of ancestors who take material form,

thousands of Indigenous songs collected by ethnographers on wax cylinder recordings, reel-

to-reel tape and electronic formats are similarly confined in museums. These songs also

hold life, but of different kinds to that of their material cousins. For Indigenous people,

experiencing these systems of display and storage are often traumatic because of the ways in

https://unimelb.zoom.us/webinar/register/WN_XvVZ7tJdTiulaFgFS_EqDghttps://www.brendagifford.com/abouthttps://unimelb.zoom.us/webinar/register/WN_2eWu0EQeSUmxzaohe2f28g

19

which they maintain the separation of kinship at the heart of settler colonialism. To re-

assess the role of the museum as a place that confines life is to put into question its

relationship to incarceration. If the museum is a carceral space, how then might we define

repatriation in relation to practices of “re-entry” and kinship reconnection? In what ways

might prison abolition apply to the museum? These questions, among others, have

increasingly been focalized through the reparative aesthetics of Indigenous artists.

Dylan Robinson is a xwélmexw (Stó:lō/Skwah) artist and writer, and Associate Professor Queen’s University where he holds the Canada Research Chair in Indigenous Arts. His

monograph, Hungry Listening (Minnesota University Press, 2020), considers listening

from both Indigenous and settler colonial perspectives, and proposes decolonial practices of

attention that emerge from increased awareness of our listening positionality. His previous

publications include the co-edited volumes Music and Modernity Among Indigenous

Peoples of North America (Wesleyan University Press, 2018) and Arts of Engagement:

Taking Aesthetic Action in and Beyond the Truth and Reconciliation Commission of

Canada (Wilfred Laurier University Press, 2016).

KEYNOTE 3: PETER TREGEAR

UNIVERSITY OF MELBOURNE

CONFLICTS, CONSTITUTIONS, AND THE ‘CON’

Friday 4 December, 5:30pm

Registration:

https://unimelb.zoom.us/webinar/register/WN_7e3m6mQbSsS5xnCVpuvDtg

The global rise of institutions specialising in professional music training is one of the more

significant (but surprisingly under-researched) aspects of modern music history. Arising in

part out of a desire by musicians themselves to have access to the kinds of accreditation

already long afforded to other, more ‘respectable’ trades, the widespread growth in

conservatoria also reflected (and soon served to shape) tensions between idealistic and

pragmatic views of the role of music in modern society more generally. In particular, there

was a widely held belief that music could, and should, be put into the service of the

emergent nation-state. This paper seeks to place the foundation of the Melbourne

Conservatorium of Music into this global context, and demonstrate how it too reflected

both the power of a global cultural franchise, but also global movements seeking political

enfranchisement. It concludes with some thoughts on the cultural and political significance

of the ‘Con’ today.

A graduate of the Melbourne Conservatorium of Music (where he is currently a Principal

Fellow), Peter Tregear subsequently undertook doctoral studies at King’s College,

Cambridge, and was then appointed a Lecturer and Director of Music at Fitzwilliam

College. After returning to Australia he served as Executive Director of the Academy of

Performing Arts at Monash University and from 2012–2015 he was Head of the ANU

School of Music in Canberra. Earlier this year he was appointed the inaugural Director of

Little Hall at the University of Melbourne. Active as both a performer and public

commentator on music and culture, Peter has published widely in both the academic press

and the mainstream media. His scholarly and performing work centres on early twentieth

https://unimelb.zoom.us/webinar/register/WN_7e3m6mQbSsS5xnCVpuvDtg

20

century Australian and European musical culture and on composers whose careers and lives

were ruined by the rise of Nazi Germany. He also holds an Adjunct Professorship at the

University of Adelaide.

KEYNOTE 4: SUZANNE ROBINSON

MELBOURNE CONSERVATORIUM OF MUSIC

“NEITHER ATHLETES NOR BLUE STOCKINGS”: WOMEN IN THE

MUSIC PROFESSION IN MELBOURNE, 1892–1912

Saturday 5 December, 2:30pm Registration: https://unimelb.zoom.us/webinar/register/WN_4uLg-anMRwCJputC4Du1Ew It has long been assumed that the women of the Marshall-Hall Orchestra were amateurs—most of them conservatorium students—and that one of the reasons for the orchestra’s demise in 1912 was that the men of the Musicians’ Union refused to play with lady amateurs. Over the course of the twenty years of the orchestra’s existence, with up to eight concerts per season, approximately 230 musicians appeared in the orchestra, of whom around 45 were women violinists, violists or cellists. This study explores who these women were and interrogates the definition of “professional” when this is a historically contingent concept bound up with debates about feminism, modernism, equal rights and labour market economics. It also situates the increasing participation of women in the orchestra, and the profession, in the context of the social and cultural history of Melbourne: the effects of the recession in the early 1890s, the increasingly visible suffrage cause, the gradual acceptance of women into degrees at the university and the career of Marshall-Hall himself, who as founder of two conservatoriums, the orchestra and the Musicians’ Union was the central figure in the city’s musical landscape. Dr Suzanne Robinson is the author of Peggy Glanville-Hicks: Composer and Critic(Illinois, 2019) and editor or co-editor of five other books, including Grainger the Modernist (Ashgate, 2015) and Marshall-Hall’s Melbourne (ASP, 2012). She has recently been shortlisted for the Magarey Medal for Biography (awarded by the Australian Historical Association) and the Hazel Rowley Fellowship, and is the recipient of the Kurt Weill Prize (Weill Foundation, New York) as well as awards from the Society for American Music and the American Musicological Society. Her writings on modernist composers have appeared in books including the Cambridge Companion to Michael Tippett (CUP, 2013), National Traditions in Nineteenth-Century Opera (Ashgate, 2010) and T.S. Eliot’s Orchestra (Garland, 2000), and in journals such as Cambridge Opera Journal, the Australian Journal of Biography and History and Musical Quarterly. She is currently Series Editor at Lyrebird Press and an Honorary Fellow at the Melbourne Conservatorium of Music.

ROUNDTABLE 1: BEETHOVEN AND AUSTRALIA: REFLECTIONS ON

HIS 250TH ANNIVERSARY

Thursday 3 December, 5:30pm–7:00pm

https://unimelb.zoom.us/webinar/register/WN_4uLg-anMRwCJputC4Du1Ew

21

Michael Christoforidis, Anna Goldsworthy, David Larkin, and Peter McCallum

Chair: Warren Bebbington

Registration: https://unimelb.zoom.us/webinar/register/WN_nctUruLnRISWpnxDbRVKOA

ROUNDTABLE 2: ETHNOMUSICOLOGY AND MUSICOLOGY IN

AUSTRALIA: THE NEXT 125 YEARS

Saturday 5 December, 4:30pm–6:00pm

Peter Tregear, Sarah Collins, Linda Barwick, and Clint Bracknell

Chair: Malcolm Gillies

Registration:

https://unimelb.zoom.us/webinar/register/WN_SSO5DszuQuagPUf8oiqLKA

https://unimelb.zoom.us/webinar/register/WN_nctUruLnRISWpnxDbRVKOAhttps://unimelb.zoom.us/webinar/register/WN_SSO5DszuQuagPUf8oiqLKA

22

SPECIAL EVENTS AND

ACTIVITIES BOOK LAUNCHES

Two books and one journal special issue are being launched at this year’s conference.

Representing Australian Aboriginal Music and Dance 1930–

1970

Amanda Harris

with contributions from Shannon Foster, Tiriki Onus and Nardi

Simpson

Bloomsbury Academic

LAUNCH: Thursday 3 December 2020, 5:00pm

Special Issue: Musicology Australia 41, Issue 2 (2019)

Zelenka, Bach and the Eighteenth-Century German

Baroque: Essays in Honour of Janice B. Stockigt

Kerry Murphy, Fred Kiernan, Andrew Frampton (eds)

LAUNCH: Friday 4 December 2020, 10:00am

Distant Dreams: The Correspondence of Burnett Cross

and Percy Grainger 1944–1960

Teresa R. Balough and Kay Dreyfus (eds)

Lyrebird Press

LAUNCH: Saturday 5 December 2020, 11:00am

23

VIRTUAL BOOKSTAND

https://blogs.unimelb.edu.au/msa-conf2020/virtual-bookstand/

Our Virtual Bookstand showcases a variety of recent books, themed journal issues, scores,

and recordings by MSA members.

MULTIVOCAL EXHIBITION

https://about.unimelb.edu.au/old-quad/multivocal

Multivocal celebrates the creation, performance, and experience of music at the University of

Melbourne, past and present. From formal musical education, to student-led musical

societies, indigenous music, and world music traditions, this exhibition explores the ways in

which music has enriched the lives of people in the University community and beyond.

The exhibition highlights a range of objects from Cultural Collections across the

University, including the Grainger Museum, Rare Music, University of Melbourne

Archives, University Library, Victorian College of the Arts Special Collections, Ian Potter

Museum of Art, School of Physics Museum and Trinity College Collection, as well as a few

private loans. Showcasing objects and audio, the exhibition draws visitors into the sounds

and stories of the many people who have contributed to this richly polyphonic landscape.

There are many highlights of great musicological interest. In the keyboard section you’ll

find Wayne Stuart’s microtonal piano, a hand-painted spinet created by Meredith Moon,

and a golden plaster cast of Edward Goll’s hands. In a section on Music and Wellbeing there

are objects illustrating the history of music therapy, as well as one of Percy Grainger’s

colourful ‘blind-eye’ scores. Tools of the Trade contains all those bits and pieces of ‘stuff’

necessary to write, practice, perform, and research music, including some beautiful objects

relating to Mona McBurney (the first woman to graduate with a Bachelor of Music in

Australia). There are also numerous examples of objects and audio illustrating the long

history of experimental music at the University.

A section exploring music across cultures features a film made by the University of

Melbourne Learning Environments team, called ‘Diary of the Heart’. This is an incredibly

moving story of how music supports our international students as they find a new home in

Melbourne, and features the Conservatorium’s Chinese Music Ensemble, directed by Dr

Wang Zheng-Ting.

The central musical experience of the exhibition is Corroboree song, created by Dr Lou Bennett AM. Lou writes:

“In 1885, anthropologist Reverend G.W. Torrance scribed an eight-bar passage ‘from the lips of the singer’ (Howitt, p. 330, 1887) ngurungeata (esteemed elder) and ‘native bard’, William Barak titled ‘Corroboree Song’. It was part of a selection of songs recorded in literature in the ‘The Journal of the Anthropological Institute of Great Britain and Ireland, Vol. 16’ called ‘MUSIC of the AUSTRALIA ABORIGINE by Rev. G. W. Torrance, M.A., Mus.D. [An Appendix to Mr. Howitt’s “Notes on Songs

https://blogs.unimelb.edu.au/msa-conf2020/virtual-bookstand/https://about.unimelb.edu.au/old-quad/multivocalhttps://about.unimelb.edu.au/old-quad/multivocal/keyboardat-the-con-and-beyondhttps://about.unimelb.edu.au/old-quad/multivocal/Music-and-wellnesshttps://about.unimelb.edu.au/old-quad/multivocal/tools-of-the-tradehttps://about.unimelb.edu.au/old-quad/multivocal/Experimentationhttps://about.unimelb.edu.au/old-quad/multivocal/Music-Across-Cultureshttps://about.unimelb.edu.au/old-quad/multivocal/Corroboree-Song

24

and Songmakers of some Australian Tribes.”]’(Howitt, pg 335 1887). Jump forward to the present day, in 2017, I was invited by members of the Wurundjeri community to rearrange and record ‘Corroboree Song’ for the 2017 annual Tanderrum performance for the Melbourne International Arts Festival. The song was used for the finale dance where all five tribes of the Kulin Nation (Woi Wurrung, Boonwurrung, Wathaurong, Dja Dja Wurrung and Taunurong) join each other on the dance mound to complete the performance ceremony. I rearranged the song extending it to represent the five tribes of the Kulin with a sixth cycle at the end for all tribes to come together at the very end of the piece in celebration of what the Tanderrum represents; a ritual of diplomacy. For the purposes of this exhibition I have created three versions: Pelican, Black Swan and Duck. All three birds are represented within the song cycle, all having an integral relationship with the wetland songlines”.

.

This exhibition also includes new commissions, such as the Spaces, Places soundscape by

graduate Imogen Cygler, evoking the brief snatches of musical activity one hears while

walking through a conservatorium building, and VCA film graduate Alex Wu’s

film Frisson which explores the psycho-physiological phenomenon of musical ‘chills’.

We encourage you come and see Multivocal at the Old Quad when we finally open our doors

in early 2021, but in the meantime, explore and enjoy the website (created by student Intern

from Software Engineering, Jingyi Liu), and check out some examples of curriculum-

generated responses to the exhibition from current music students. We’d also love for you

to share your own memories of music at Melbourne, and add to our growing collection of

recollections.

– Dr Heather Gaunt, curator

TOUR OF THE IAN POTTER SOUTHBANK CENTRE

https://blogs.unimelb.edu.au/msa-conf2020/virtual-tour-of-the-ian-potter-southbank-

centre/

We would have loved to show the Conservatorium’s new home at the Ian Potter

Southbank Centre in person, we hope that you will enjoy exploring the new building and

campus virtually, through images, video and an interactive tour of our campuses.

SOCIAL EVENTS

Student Meet Up

Thursday 3 December, 7:30pm

Graduate and honours students are invited to a relaxed trivia mixer after the first day's

sessions. Students from all universities, presenters and non-presenters welcome! Come

along, meet your fellow grad students, leave when the zoom fatigue starts to drain your

soul. Email madeline.roycroft@unimelb.edu.au to register your attendance and receive the

zoom link.

https://about.unimelb.edu.au/old-quad/multivocal/spaces-and-placeshttps://about.unimelb.edu.au/old-quad/multivocal/hear-from-studentshttps://about.unimelb.edu.au/old-quad/multivocal/academic-engagementhttps://about.unimelb.edu.au/old-quad/multivocal/academic-engagementhttps://about.unimelb.edu.au/old-quad/multivocal/share-your-storyhttps://blogs.unimelb.edu.au/msa-conf2020/virtual-tour-of-the-ian-potter-southbank-centre/https://blogs.unimelb.edu.au/msa-conf2020/virtual-tour-of-the-ian-potter-southbank-centre/https://study.unimelb.edu.au/discover/virtual-tourmailto:madeline.roycroft@unimelb.edu.au

25

Friday Night (Zoom) Drinks

Friday 4 December, 7:00pm

BYO drink of your choice, and dress up if you feel like it! All are welcome to come for a low-

key chat following the second day of the conference.

https://unimelb.zoom.us/j/89231881981?pwd=Lzh3K2J2cFZ4bGlQVDBodWdPMDBjdz0

9

Password: MSADRINKS

Other Social Events

Finally, while we’re all missing the incidental opportunities to meet up that come with an

in-person conference, you are very much encouraged to organise your own social gatherings

during the conference. If you need a hand facilitating a zoom meeting, get in touch at msa-

conf2020@unimelb.edu.au.

https://unimelb.zoom.us/j/89231881981?pwd=Lzh3K2J2cFZ4bGlQVDBodWdPMDBjdz09https://unimelb.zoom.us/j/89231881981?pwd=Lzh3K2J2cFZ4bGlQVDBodWdPMDBjdz09mailto:msa-conf2020@unimelb.edu.aumailto:msa-conf2020@unimelb.edu.au

26

ABSTRACTS AND

PRESENTER BIOGRAPHIES

ANTHONY ABOUHAMAD

SYDNEY CONSERVATORIUM OF MUSIC

PLAYING THE PARTITURA: MOZART AS ORGAN ACCOMPANIST

Part of Wolfgang Mozart’s official duties as a Salzburg court organist included

accompanying concerted church music. In the late eighteenth century, organists mainly

accompanied through the medium of basso continuo. In order to understand how Mozart

practised this form of improvisation, it is necessary to examine his early musical training.

Unfortunately, very little information on this aspect of Mozart’s musical instruction with

his father survives. Nevertheless, six manuals on playing a ‘partitura’ (a term Austrian

musicians used to describe basso continuo accompaniment) written by Salzburg court

organists, help shine light on the matter. These manuals, written from the time of Georg

Muffat to Michael Haydn, detail a systematic method for improvising a basso continuo.

Despite this chronological distance, all the manuals follow a remarkably consistent method

of instruction. Thus, they reflect a tradition of basso continuo instruction in eighteenth-

century Salzburg in addition to providing details of Mozart’s own practice. Through an

analysis of these manuals’ methods, I demonstrate that Salzburg court organists practised

basso continuo accompaniment from within a contrapuntal paradigm. This means that

organists realised an accompaniment by adding layers of counterpoint to a bass and not, as

may be commonly presumed, by stacking chords above it. This contrapuntal approach

affects not only how we understand eighteenth-century basso continuo in practice but has

wider implications on our perceptions of music theory. It suggests that late eighteenth-

century Salzburg organists understood musical structures primarily as interval

combinations and not through Jean-Philippe Rameau’s theory of basse fondamentale.

Anthony Abouhamad is a PhD graduand from the Sydney Conservatorium of Music (SCM). He has

earned a bachelor’s degree in harpsichord performance from both the SCM as well as the Royal

Conservatory of The Hague. As a harpsichordist, Anthony performs regularly both at home and

abroad. His interests in the field of musicology centre on historical music theory and particularly its

intersection with eighteenth-century performance practices. Currently, he teaches in the historical

performance and musicology divisions at the SCM. In addition to his musical pursuits, Anthony is a

keen swimmer and trains with the Sydney-based swimming team “Wett Ones”.

27

ANITA ASAASIRA AND MSETO NATION BAND

THE UNIVERSITY OF MELBOURNE, AUSTRALIA/MAKERERE UNIVERSITY,

UGANDA

FROM ARCHIVES TO REPERTOIRE: MSETO NATION BAND’S

DEFINITION OF A “UGANDAN SOUND”

Presentation and performance/demonstration

For over a decade, Uganda's popular music industry has been grappling with the search for

a unique 'sound' that can be locally and internationally identified as Ugandan. For the last

half a century, Uganda's popular music has been mainly imitative of other countries' music

styles. It has failed to create her own 'sound.' One reason for this is the high level of cultural

diversity in the country, which precludes one representative style. Nevertheless, there

seems to be a consensus that Uganda's 'sound' should be generated from its rich and diverse

cultural musical heritage. So, I sought to explore the potential of archival recordings of

Uganda's musical heritage as an untapped resource that musicians could utilize in creating a

'Ugandan sound.' I recruited Mseto Nation Band to reinterpret selected archival recordings

and create a contemporary repertoire of music defined through the creative process as

'Ugandan.' In this presentation, I will discuss the band members' evaluation of their creative

experience focusing on; definition of the generated 'Ugandan sound', 2) the impact of

archival recordings on the 'sound,' and 3) approaches to the creative process.

Anita Asaasira | The University of Melbourne, Australia, and Makerere University, Uganda

Aloysius Migadde (Electric Guitar) | Mseto Nation Band, Uganda

Lawrence Matovu (Bass Guitar) | Mseto Nation Band, Uganda

Ronnie Bukenya (Keyboard) | Mseto Nation Band, Uganda

Julius Sengooba (Drums) | Mseto Nation Band, Uganda

Brian Busuulwa (Vocals) | Mseto Nation Band, Uganda

28

BIANCA BEETSON, VICKI SAUNDERS, LEAH BARCLAY AND SARAH

WOODLAND

GRIFFITH UNIVERSITY/UNIVERSITY OF THE SUNSHINE COAST/UNIVERSITY OF

MELBOURNE

LISTENING TO COUNTRY: EXPLORING THE ROLE OF ACOUSTIC

ECOLOGY IN CONNECTION TO COUNTRY AND WELLBEING

Listening to Country represents an innovative approach to exploring the relationship

between Country, sound, and wellbeing among individuals and communities in Australia.

The project adopts an Indigenous led, participatory methodology that draws from deep

active listening and acoustic ecology to highlight our unique and potentially healing

soundscapes, and the transformative potential held within Aboriginal ways of listening. Our

presentation will draw on pilot research investigating how the performance and

technologies of acoustic ecology and environmental soundscapes enhanced wellbeing and

cultural connection for women at Brisbane Women’s Correctional Centre, forming the basis

for the Listening to Country approach. We will share the approach, and discuss how it is

now evolving through an iterative process of knowledge translation and relationship

building as we move into the next phases of the research.

Bianca Beetson (Kabi Kabi) | Griffith University

Vicki Saunders (Gunggari) | Griffith University

Leah Barclay | University of the Sunshine Coast

Sarah Woodland | University of Melbourne

29

CLINT BRACKNELL, TREVOR RYAN AND ROMA YIBIYUNG WINMAR

EDITH COWAN UNIVERSITY

MAYAKENINY: INCREASING COMMUNITY ACCESS TO NOONGAR

SONG

This presentation describes the development of a new online resource increasing

community access to Noongar song content. It showcases work developed via one of three

different revitalisation modalities: 1) The translation of well-known children’s songs has

been integral to language education efforts in the southwest over the past three decades and

spearheaded by language teachers like Roma Yibiyung Winmar. Song is effective in

language learning contexts and translated children’s songs allow for broad and unrestricted

public engagement with the Noongar language. 2) Written records from the nineteenth and

early twentieth century feature lyrics for over seventy Noongar songs. However, an absence

of musical notation, audio recordings and oral transmission means that it is impossible to

know exactly how these songs would have been originally performed. A project instigated

by the City of Perth and its Noongar Elders advisory committee to recompose two Noongar

songs based on lyrics recorded in 1830 required the articulation of an aesthetic framework

to guide the development of new melodies in something like the old Noongar style. This

framework is based on historical details about Noongar performance and the analysis of a

small number of audio recordings of Noongar singing from the mid-twentieth century

onwards. 3) The framework has underpinned the development of completely new songs.

Rather than drawing on archival lyrics for musical inspiration, new Noongar works are

being created in response to Country.

Clint Bracknell | Edith Cowan University

Trevor Ryan | Edith Cowan University

Roma Yibiyung Winmar | Edith Cowan University

30

NESSYAH BUDER GALLAGHER

MELBOURNE CONSERVATORIUM OF MUSIC

AUSTRALIAN-FRENCH SAXOPHONE CONNECTIONS: THE LETTERS

BETWEEN PETER CLINCH (1930–1995) AND JEAN-MARIE LONDEIX

(B. 1932)

Compared to the United States and Europe, very little has been written about the

Australian saxophone, yet Australian saxophonists and saxophone music deserve greater

global attention. Australian saxophonist Peter Clinch (1930–1995) became internationally

acclaimed for his performing, teaching, and research into the connections between the body

and performance for single reed musicians. Clinch’s international connections and activities,

such as participating in and helping organise the World Saxophone Congress (1982–1992),

brought Australian saxophone music to the attention of some of the most significant concert

saxophonists from around the world at the time, including Marcel Mule and Jean-Marie

Londeix (France), Eugene Rousseau (USA), and Ryo Noda (Japan). It is through the

personal connections made at these Congresses that pieces such as Introspections for

Saxophone and Prepared Tape by Geoffrey D’Ombrain and Sonata for alto saxophone and

piano by William Lovelock were performed and became known by saxophonists around the

world.

Despite his significance in the saxophone world, no full-length biography of Clinch has been

written. Ali Fyffe’s twenty-page honours thesis is currently the most detailed account of

Clinch’s life and contributions to the saxophone. This document contains much valuable

information, but leaves many questions unanswered, particularly concerning the details of

how Clinch related to these international saxophone figures, and how these personal

connections helped to weave Australian saxophone music into the broader canon. Extensive

correspondence between Jean-Marie Londeix (b. 1932) and Peter Clinch has recently

become available. Drawing on this correspondence, this paper explores the connections

between Clinch and Londeix and the implications these connections had for the

advancement of the saxophone in Australia.

Dr. Nessyah Buder holds degrees in saxophone performance and music education from Northwestern

University (B.M. 2011), ethnomusicology from the University of Miami (M.M. 2013), and

saxophone performance from Shenandoah Conservatory (DMA 2016). She is the 2012 University of

Miami recipient for the Presser Music Award, and she is currently pursuing a PhD in musicology at

the University of Melbourne.

31

HOLLY CALDWELL

UNIVERSITY OF TASMANIA

FROM ANGLOPHILE TO APPLE ISLE ADVOCATE: COMPOSER DON

KAY AND THE DEVELOPMENT OF A TASMANIAN VOICE

Don Kay AM (b. Smithton, Tasmania 1933) is renowned for his compositions reflecting the

Tasmanian natural environment, such as There Is an Island (1977), Hastings Triptych (1986),

and Tasmania Symphony: The Legend of Moinee (1988). Kay attributes the development of

much of his musical language to his experience of Tasmania’s history and environment;

however, before arriving at this point, Kay negotiated two vividly contrasting worlds. As a

young, self-professed Anglophile and pastoralist composer heavily influenced by Vaughan

Williams, Kay eagerly ventured abroad to England in 1959. There, he began studies in

London with high-profile Australian ex-patriate composer Malcolm Williamson (1931-

2003), who, according to Kay in a 1999 interview with Ruth Lee Martin, “hoicked [him]

into a more avant-gardish activity, through the twelve-tone … technique.” Paradoxically, it

was this exposure to the European method of serialism that triggered for Kay an internal

resolution between Tasmania, where he was born, and his longing for England as the

motherland.

Through the examination of recent interviews with Kay and of select musical works, this

paper will consider the composer’s experience in London and his subsequent newfound

desire to more deeply connect with Australia’s island state as the determinant of his success

in developing a personal compositional voice.

Holly Caldwell is a PhD candidate in musicology at the University of Tasmania Conservatorium of

Music. Her current research investigates composer Don Kay (b. 1933) and the ways in which his

music reflects the history and natural environment of Tasmania. Her broader research interests centre

on how a greater presence of Australian art music can help to enrich a sense of culture, identity and

place for those in Australia. She recently completed her Master of Music research on the composition

of art music for children’s performance in Australia.

32

ANDREW CALLAGHAN

MELBOURNE CONSERVATORIUM OF MUSIC

THE SONOROUS MOULD: INDEXICALITY, INAUDIBILITY AND

TRUTH-CLAIMS IN HILDUR GUÐNADÓTTIR’S SCORE FOR

CHERNOBYL

Traditionally, film scores are set in opposition to notions of filmic realism. In particular,

indexicality, the quality of photographs being a product of that which they signify (akin to a

footprint or smoke indicating a fire), has been regarded as a cornerstone of film’s ability to

capture the world. Non-diegetic music, as a signifier of post-production, has been rejected

by various filmic movements from verité documentarians to Dogme practitioners in the

1990s as an unwelcome indicator of authorial manipulation.

One solution that has emerged has involved an ambiguity between diegetic sound and score,

making music a less noticeable invasion and more akin to its visual analogue. On occasions,

the musical features of diegetic sound are exploited to perform some functions we might

normally ascribe to music. With sampling technology, the inverse also becomes possible:

environmental sound is sampled and shaped with musical tools to create a score.

Hildur Guðnadóttir’s recent score for Chernobyl is an exemplar of this approach. In

building her score largely out of recordings made at a nuclear power plant, her music

interweaves with environmental sounds in ways that at times makes the distinction between

the two impossible to discern. Additionally, given her process was broadly reported in the

press, some new questions arise: What does knowledge of music made of environmental

sound do to our experience of the production? Does such ‘indexical’ music have more

permission in serious, realistic settings?

Andrew Callaghan is a composer, sound designer, researcher and educator. He has scored productions

for film, TV, podcasts, and albums as well as live events and installations that have been acclaimed

internationally. A keen teacher of music history, technology, arranging and screen music, he is

currently undertaking a Ph.D. in music at the University of Melbourne. His current research focus is

on the structures, effects and contribution of accompanying music to realism in narrative and

documentary media.

33

LIZ CAMERON, GRETEL TAYLOR, ENID NANGALA GALLAGHER AND

LORRAINE NUNGARRAYI GRANITES

DEAKIN UNIVERSITY/SOUTHERN NGALIYA DANCE PROJECT

BAREFOOT ON COUNTRY: CULTURAL DANCE PARTICIPATION AND

SOCIAL AND EMOTIONAL WELLBEING

“Doing the dances tells you who you are and where you are from. Like you’ve got nothing

inside you if you don’t know.” - Nangala, 19-year-old participant, Southern Ngaliya project,

Yuendumu, Northern Territory (interview with Taylor and O’Connor, 2012). There is

strong suggestion that participation in cultural dance facilitates social, health and spiritual

benefits through embodied connection with cultural identity and Country. These benefits

include powerful ramifications for individual self-esteem, intergenerational relationships and

the wellbeing and resilience of communities (Dunphy and Ware, 2019, Smith, 2000). We

consider these interconnected effects through the frame of Social and Emotional Wellbeing

(SEWB), which can be defined as ‘a multidimensional concept of health that includes mental

health, but which also encompasses domains of health and wellbeing such as connection to

land or Country, culture, spirituality, ancestry, family, and community’ (Gee et al., 2014).

This presentation includes excerpts from recent online yarning sessions with Warlpiri

women, who are core members of Southern Ngaliya, a successful women’s dance project

that has been running for over a decade, to reflect upon wellbeing effects of participation in

these intergenerational dance camps on Warlpiri Country.

Liz Cameron | Deakin University

Gretel Taylor | Deakin University

Enid Nangala Gallagher | Southern Ngaliya Dance Project

LORRAINE NUNGARRAYI GRANITES | SOUTHERN NGALIYA DANCE PROJECT

34

GENEVIEVE CAMPBELL AND MEMBERS OF THE TIWI STRONG WOMEN’S

GROUP

SYDNEY ENVIRONMENT INSTITUTE, SYDNEY CONSERVATORIUM OF

MUSIC/TIWI STRONG WOMEN’S GROUP

TIWI YILANIYA: HEALING IN SONG AND CEREMONY

Presentation and performance/demonstration

The practise of mortuary-related ceremony and associated rituals remains central to 21st

century life on the Tiwi Islands, Northern Australia. Essential to this is the Yilaniya

‘Smoking’ ritual. Comprising songs that create direct conversation between the living and

the dead, Yilaniya documents the deceased’s country, kinship and family relationships and

their new place amongst the ancestors. This encourages their spirit to leave, allowing the

living to move on and heal, with the loss properly acknowledged. The impact of colonial

rule over the last century has resulted in changes to the logistics of mortuary rituals.

Yilaniya - traditionally male-led and having a specific ritual function - is now widely also

called ‘Healing’, is increasingly sung by senior song-women and has expanded to include

new song forms and crossovers into Christianity. Through examples of old and new forms

of Yilaniya songs we will explain how this has resulted in a blurring of traditionally

gendered roles in song composition and custodianship as well as broadening the

motivations and understandings of ‘Smoking’ and ‘Healing’ beyond their ritual context -

both in their own right remaining pivotal to the spiritual and, perhaps more importantly,

the social health and wellbeing of the Tiwi community.

Genevieve Campbell | Sydney Environment Institute, Sydney Conservatorium of Music

Members of the Tiwi Strong Women's Group | Tiwi Strong Women’s Group

35

PETER CAMPBELL

UNIVERSITY OF MELBOURNE/UNIVERSITY OF DIVINITY

“AN ENGLISHMAN, AN IRISHMAN AND A SCOTSMAN WALK OUT

OF A BAR …”: PHILANTHROPY AND THE PROMOTION OF MUSICAL

ACTIVITY AT AUSTRALIA’S EARLY UNIVERSITIES

While the awarding of music degrees had been allowed for in the Acts establishing

Australia’s earliest Universities, the introduction of teaching in those degrees was not

always straightforward or immediate. There were both practical and philosophical issues to

be dealt with, although the major stumbling block was money. To the rescue came several

wealthy and influential figures.

At the same time, those on the ground—faculty members and students with musical

interests—were organising their own music societies, enabling them to gather to perform

or listen to music of a great variety of styles. This included both live performances and

recordings.

This paper examines the development of these two streams of musical activity in Sydney,

Melbourne, Adelaide and Hobart, as Australia’s tertiary education institutions were founded

and expanded during the nineteenth century. The personnel and personalities of those

involved are identified, the legal and institutional problems examined and the outcomes and

achievements reviewed.

This new assessment of early musical activity in Australian universities leads to a better

appreciation of the role philanthropy has played in establishing music as a discipline of

academic study in Australia and brings to light new evidence of early performances of music

in our universities.

Peter Campbell is Registrar, Trinity College Theological School, University of Divinity, and

Honorary Research Fellow at the Melbourne Conservatorium of Music, University of Melbourne. He

completed doctoral studies on Australia’s Intervarsity choral movement and has written extensively

on aspects of Australian music history, particularly relating to choirs, including work on composer

Larry Sitsky, Bach in Canberra and Marshall-Hall’s relationship with Trinity College at the

University of Melbourne. Peter is a singer, chorister and composer who has performed across

Australia, Britain, Europe and North America.

36

ALISON CATANACH

MELBOURNE CONSERVATORIUM OF MUSIC

FLUTE PLAYING IN EIGHTEENTH-CENTURY BRITAIN: A

GENTLEMANLY PASTIME

Advertised as a musical instrument of novelty in London newspapers at the beginning of

the eighteenth century, the transverse flute became a fashionable choice for gentlemen

performers. At a time when much was written and published about the attributes necessary

to present as a ‘gentleman’ in society, the acquisition of practical musical skills was not

always highly valued. There is evidence, however, which points to musical participation by

wealthy male amateurs in Britain throughout the eighteenth century, and of the increasing

popularity of the transverse flute. Examples of flute playing in varied situations reveal a

continuing interest in the display of social status and gentility. Drawing on primary sources

including art, journals and contemporary literature, I explore reasons for the favour given

to the transverse flute by gentleman musical performers and give insight into the

perception of flute playing in eighteenth-century British society

Alison Catanach is a Melbourne flautist known for her performance on historical flutes. After

completing a MMus (performance) at the University of Melbourne, Alison studied traverso with

Wilbert Hazelzet at the Royal Conservatorium in the Hague, the Netherlands. Alison is a frequent

performer with Melbourne early music chamber groups and orchestras. Alison is currently studying

for a PhD in performance and musicology at the University of Melbourne. Her doctoral studies

explore amateur and professional flute playing in eighteenth-century Britain

37

ROSS CHAPMAN

MELBOURNE CONSERVATORIUM OF MUSIC

PERCY GRAINGER’S SAXOPHONE

It is not commonly known that the saxophone arrived in Australia before it was first

performed in the United States, but by the time of Percy Grainger it had come to almost

singularly represent the energy and dynamism of America.

After moving stateside in 1914, Grainger enlisted in the US military as a saxophonist in

1917. Although his eighteen month stint in uniform was brief, the saxophone clearly left an

impression: he would later advocate for the instrument’s role in orchestras of the future

('The Orchestra for Australia', 1927) , and decades hence note that, contrary to the

prevailing view that it was a novel noisemaker, ’the world-wise and ever-growing

popularity of the saxophone must be considered part of that great revival of interest in

melody that characterises our century’ ('The Saxophone’s Business in the Band’, 1949).

Grainger’s influence on the saxophone will be contextualised among the instrument's

marginalised place in the British-influenced brass banding movement, its relative

prominence in the Sousa Band which toured Australia in 1911, and its employment by the

’Sousa of the Antipodes’ Alexander Lithgow.

Ross is a saxophonist, educator, and researcher currently completing the Master of Music (Research)

at the Melbourne Conservatorium of Music, under the supervision of Dr. Michael Christoforidis. His

thesis investigates the early history of the saxophone in Australia, building on his 2010 dissertation

on the instrument’s cultural trajectory in Europe and the United States and findings from the 2014

SAX200 conference in Brussels. Ross has served with the Australian Army Band since 2009,

conducted the Clarinet and Saxophone Society of Victoria’s Saxophone Ensemble since 2014, and

never failed to marvel at the saxophone’s knack of offering insights into music and culture far beyond

its station.

38

DAIZHIMEI CHEN

UNIVERSITY OF SYDNEY

THE TIME IS OUT OF JOINT: NARRATIVE (RE)ORDERING IN

MENDELSSOHN’S A MIDSUMMER NIGHT’S DREAM

From a narratological perspective, musicologists James Hepokoski and Warren Darcy

interpret the tonal journey and material deployment of the standard 18th-sonata as

embodying the Enlightenment idea of a perfect human action. The linear succession of

musical events here corresponds to the narrative type known as story, in which plot events

are presented in chronological order. However, this narrative model is inappropriate for

some Romantic overtures, where composers responded to a literary work and altered the

order of its original story narrative. Therefore, events fall out of chronological order, which

constructs the reordered overture as a narrative discourse.

This paper uses the story – narrative discourse distinction from narratology to reconsider

Hepokoski and Darcy’s framework. As an example of innovative 19th-century program

music, Mendelssohn’s A Midsummer Night’s Dream overture will serve as my case study. In

this paper, I will firstly explain Sonata Theory, which establishes a dialogical relationship

between the 18th-century and 19th-century sonatas. I will then compare the narrative of

Mendelssohn’s overture to Shakespeare’s original play and explore why Mendelssohn

designs his overture as a narrative discourse. This study emphasises the role temporality

plays in Mendelssohn’s overture and helps us understand the way programmatic factors

shape sonata form in general.

Daizhimei Chen is currently doing her Honours degree in Music at the University of Sydney. Under

the supervision of Dr David Larkin, her thesis explores the way programmatic factors shape Romanic

forms by comparing the narrative of Shakespeare plays and the adapted Romantic overtures.

Daizhimei’s research interests include 19th-century music, musical forms, as well as philosophy of

music.

39

TIMOTHY CLARKSON

SYDNEY CONSERVATORIUM OF MUSIC

TOWARDS AN ETHICAL FRAMEWORK FOR THE TONNETZ AS A

TOOL FOR ANALYSIS OF JAZZ IMPROVISATION

Neo-Riemannian Theory (NRT) has been used by a range of jazz scholars to illuminate the

voice leading of modern jazz compositions. NRT and the Tonnetz provide an opportunity to

reveal similar transformational voice leading processes in melodic improvisation: either

reflecting transformational harmony or superimposing other tonalities.

Philip Ewell and others have highlighted the prescriptive categorisations of theorists such

as Schenker and Riemann and the curtailing impact of the white racial frame on

interpretations of individual agency. Stephen Rings argues that NRT’s modern form

constitutes a substantial change in values from normative categories to decentred tonal

spaces and analytical pluralism, allowing for more nuanced and adaptive analysis.

By illuminating the voice leading that occurs in a range of modern jazz solos through an

animated map, this paper will show that animation of the Tonnetz serves as useful way of

identifying soloistic choices and foregrounding performer agency.

This provides a strong visual representation of convergence and divergence of

improvisation with composed harmony and further decentralises the notion of functional

tonality and hierarchy identified by Ewell as central to the white racial frame. It aims to

establish a voice leading framework that reflects the unique solutions posed by each

improvisor by highlighting not only localised change as familiar to NRT theorists, but

localised multiplicity.

Tim Clarkson is a jazz saxophonist, composer, bandleader resident in Sydney currently undertaking a

DMA candidate at the Sydney Conservatorium of Music. His research explores theory and practise of

tonal transformation and superimposition in modern jazz improvisation, following previous Masters

research on the harmonic language of New York saxophonist Mark Turner.

A highly creative and unique voice on saxophone, his albums feature regularly on national radio as

leader or sideman and has performed with George Benson, The Temptations, and Grammy Award

winner Elio Villafranca. In Sydney he performs regularly with the Tim Clarkson Trio, Dan Barnett

Big Band, Dave Panichi Orchestra and multi ARIA award winners The MARA! Band.

40

DENIS COLLINS

UNIVERSITY OF QUEENSLAND

GIOVANNI MARIA NANINO AT THE INTERSECTION OF VISUAL ARTS

AND MUSICAL PRACTICE IN EARLY 17TH-CENTURY ROME

While scarcely mentioned in modern histories of music, Giovanni Maria Nanino (ca. 1543–

1607) was nonetheless the most prestigious Roman composer and pedagogue at the turn of

the seventeenth century. Holding prestigious posts at Rome’s most eminent churches before

joining the Papal Chapel in 1577, Nanino was well placed to influence musical developments

in his native city and beyond, with his madrigals, for instance, circulating as far as England.

As was the case for many of his Roman contemporaries, Nanino’s musical output could find

expression through complex visual representations in which musical notation was

embedded within imagery that had many layers of symbolic meaning. The present study

takes as its starting point the brief mention near the end of Pietro Cerone’s El melopeo y

maestro (1613) of a canon by Nanino in cruciform notation. Although all modern

commentators consider Nanino’s cross canon to be lost, I propose that in fact two

differently notated versions exist, one in a manuscript collection of canons by the

contemporary English composer Elway Bevin and the other close to the beginning of

Cerone’s mammoth treatise. The differences in notation and the contrasts in artistic

imagery between these versions point to how compositional techniques, especially canon,

could serve a wide array of functions for different communities. The findings of this study

also help to reinforce the view of Nanino as a leading figure engaged with different strands

of musical and artistic practice of his time.

Denis Collins is Associate Professor of Musicology at the University of Queensland. His research

interests span the history of contrapuntal techniques in Western music before ca. 1800, music and

visual culture, and digital musicology. He has been Lead Chief Investigator for two ARC Discovery

Projects on the history of canonic techniques from the late fourteenth to early seventeenth centuries.

His recent publications have appeared in Acta Musicologica, Music Theory Online, Musicology

Australia and Music Analysis. He was co-editor with Kerry Murphy and Samantha Owens of J.S.

Bach in Australia: Studies in Reception and Performance (Lyrebird Press, 2018).

41

ALEXANDER HEW DALE CROOKE, JANE W. DAVIDSON, AND TRISNASARI

FRASER

UNIVERSITY OF MELBOURNE

COVID-19, MUSIC COMMUNITIES AND BRIDGING CAPITAL

Co-authored with Tia DeNora and Mariko Hara, Department of Sociology/Philosophy,

University of Exeter, UK

This presentation explores the impact of COVID-19 on musicians and their ability to

practice, collaborate, and connect with their audiences. It draws on interviews with

members of music communities in Australia and USA. While social distancing as a result of

COVID-19 has significantly disrupted active connection with localised communities and

musical networks, participants report increased connection and engagement with wider

networks through technology. The presentation draws on Putnam’s concepts of bonded and

bridging capital to explore how music engagement during the COVID-19 pandemic of 2020

has promoted decentralised communities through its emphasis on bridging capital. It

proposes a hybrid or intersectional capital that seems be particular to online networks. The

implications of this idea are discussed in relation to key social theories, including the

perceived benefits and barriers this presents for social cohesion and community resilience

among musicians.

Dr Alexander Hew Dale Crooke is Postdoctoral Research Fellow at the University of Melbourne. He

is a transdisciplinary researcher who works across the fields of music therapy, sociology, psychology,

music education, cultural studies, and social policy. His research agenda centres on the individual and

social affordances of music in community and education settings, with an emphasis on musical

participation as a site for social justice work, and access to culturally responsive arts experiences. Dr

Crooke publishes regularly across several fields, and works internationally as a consultant in the

design, implementation, and evaluation of arts programs in school and community settings.

Professor Jane W. Davidson is currently Head of Performing Arts, Faculty of Fine Arts & Music at

the University of Melbourne and Chair of the University’s Creativity & Wellbeing Hallmark

Research Initiative. Her research embraces the study of musical skill, music as social interaction, arts

for wellbeing outcomes, music and emotion, and opera performance. Recent outputs include a major

six-volume series A Cultural History of Emotions (with Susan Broomhall and Andrew Lynch,

Bloomsbury, 2019), the co-authored Music Nostalgia and Memory (with Sandra Garrido,

Palgrave, 2019) and the two-volume series Opera, Emotion and the Antipodes (with Stephanie

Rocke and Michael Halliwell, Routledge 2020).

Trisnasari Fraser is a practising psychologist with an interest in the wellbeing of creative people and

the therapeutic value of community music and dance. Her current PhD research investigates

intercultural music engagement during COVID-19. As a community-based dance practitioner she co-

directed a performing arts agency for ten years, directing ensembles encompassing a range of

culturally diverse artforms. She has conducted quantitative and qualitative research on the genetic

basis of singing ability and the wellbeing of artists of culturally diverse background in Australia. She

writes regularly for ArtsHub and has recently been a main contributor to their Wellness and Recovery

Resource.