Book contents
- The Cambridge Companion to Music in Australia
- Cambridge Companions to Music
- The Cambridge Companion to Music in Australia
- Copyright page
- Dedication
- Contents
- Figures
- Maps
- Tables
- Music Examples
- Contributors
- Acknowledgements
- 1 Introduction and Historiography of Music in Australia
- Part I Continuities
- Part II Encounters
- 6 Cultivating a European Concert Culture in Colonial Sydney and Hobart, 1826–1840
- 7 An Early Australian Musical Modernism
- 8 Country Music: Australianising an American Tradition?
- 9 The Development of the Australian Pop Charts and the Changing Meaning of the ‘Number One’ Single
- 10 Artist Perspective Didjeridu on the Art Music Stage
- Part III Diversities
- Part IV Institutions
- Index
- References
10 - Artist Perspective Didjeridu on the Art Music Stage
from Part II - Encounters
Published online by Cambridge University Press: 14 November 2024
Book contents
- The Cambridge Companion to Music in Australia
- Cambridge Companions to Music
- The Cambridge Companion to Music in Australia
- Copyright page
- Dedication
- Contents
- Figures
- Maps
- Tables
- Music Examples
- Contributors
- Acknowledgements
- 1 Introduction and Historiography of Music in Australia
- Part I Continuities
- Part II Encounters
- 6 Cultivating a European Concert Culture in Colonial Sydney and Hobart, 1826–1840
- 7 An Early Australian Musical Modernism
- 8 Country Music: Australianising an American Tradition?
- 9 The Development of the Australian Pop Charts and the Changing Meaning of the ‘Number One’ Single
- 10 Artist Perspective Didjeridu on the Art Music Stage
- Part III Diversities
- Part IV Institutions
- Index
- References
Summary
In this artist perspective, didjeridu virtuoso William Barton recounts key moments in his career from his education on Kalkadunga Country to the biggest art music stages in Australia and the world. From early collaborations with Peter Sculthorpe to recognition of Barton as a composer in his own right, Barton now sits in the engine room of major arts programming, with roles on Boards of Directors of the Sydney Symphony Orchestra and Australian Music Centre. Barton’s music and his practice remains grounded in history, place and culture.
- Type
- Chapter
- Information
- The Cambridge Companion to Music in Australia , pp. 162 - 170Publisher: Cambridge University PressPrint publication year: 2024
References
Further Reading
Barton, R. and Barton, G., ‘Storytelling as an Arts Literacy: Use of Narrative Structure in Aboriginal Arts Practice and Performance’ in Barton, G. (ed.) Literacy in the Arts (Cham: Springer, 2014), https://doi.org/10.1007/978-3-319-04846-8_15.CrossRefGoogle Scholar
Duffy, M. and Waitt, G. R., ‘Sound Diaries: A Method of Listening to Place’, Aether, 7 (2011), 119–36.Google Scholar
Knopoff, S., ‘Indigenous and Non-Indigenous Collaboration in New Orchestral Music: Two Notable Successes from the Adelaide Festival of Arts’ in Plush, V., Schippers, H. and Wolfe, J. (eds.), Encounters: Meetings in Australian Music: Essays, Images, Interviews (South Brisbane: Queensland Conservatorium Research Centre, 2005), 44–6.Google Scholar
Neuenfeldt, K. (ed.), The Didjeridu: From Arnhem Land to Internet (Sydney: J. Libbey/Perfect Beat Publications, 1997).Google Scholar