Resonate Magazine | Australian Music Centre

The fourth issue of the Resonate Journal, edited by Nicole Canham, is a fascinating collection of articles, essays and opinion pieces, all around the general idea of music and place: music inspired by a place; music grown out of an artist's connection with - or memory of - a place; music with a unique connection to a landscape or a community or a place with a history of musical performance.

'Music is essentially ephemeral in nature – live performance exists in the moment in which it is created. It may be recorded or captured on film, but as an undertaking music is markedly different from something like visual art, for example. Working in an art form where things are focused on the moments of a performance, we can sometimes lose sight of the fact that everything we do is placing us somewhere on a map, or a continuum of activity. Nothing that we do exists in isolation. It is all connected to something else, be it a person, an idea, a space, a geographical location', writes Nicole Canham in her editorial.

Other contributors to this issue of Resonate Journal include Helen Lancaster, Vincent Plush, Karlin Love, Andrew Ford, Elizabeth Rogers and Don Aitkin. The issue also includes interviews with Robert Davidson and Caroline Stacey, as well as Robyn Archer's recent Manning Clark lecture.

The third issue of the resonate journal, edited by Cat Hope, brings together a rich group of practitioners of new music, from sound artists, composers and improvisers to teachers of composition:

This issue of the resonate journal re-approaches some of the music composed by Australians in the 1950s, ‘60s and ‘70s. Although these years are often acknowledged as important for establishing contemporary understandings of Australian new music, they are under-represented in writings about more recent Australian music of this kind. What scholarship exists tends towards the biographical.

Now is a pivotal time in Australian music history. Technological advances are affecting the ways in which we engage with music at all stages of its lifecycle. Documentary processes play a crucial part in this lifecycle – aiding promotion, providing context, supporting education, and fostering discussion. As we move further into the online environment, the increasing significance of the Internet is causing these processes to evolve rapidly.