Resonate Journal 2007-2009
In 2007-2009, guest editors collaborated with the Australian Music Centre to produce the bi-annual Resonate Journal exploring a particular theme of currency in Australian new music. The publishing of the Journal is currently on hold. This online publication was the successor of the AMC's hard-copy Sounds Australian (54 issues published between 1987 and 2006), which featured topics such as Australian tertiary music education, Australian music for the screen, new music performance, the teaching and learning of composition, and Australian music discourse.
Issue #5 – 18 Dec 09
Edited by Anni Heino
This issue of Resonate Journal is all about the latest in Australian choral music. What are the current developments in commissioning, workshops and community choral music? What are the new works? How did they come to exist? Who commissioned, rehearsed and performed them?
We have given composers and conductors the opportunity to talk about works that they have composed or performed. They were forced to make some tough choices: in 2009 alone, an impressive number of premieres took place all over the country. As conductor Carl Crossin says in our interview, 'The situation has improved dramatically in the last fifteen to twenty years and there is certainly less fear of "new" music in our choirs than there used to be.'
Also included are features, interviews and articles about interesting initiatives, events and people, from Stephen Leek to Tony Backhouse: 15 articles by composers, conductors, academics and educators.
Issue #4 – 10 Jun 09
Edited by Nicole Canham
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.
Issue #3 – 15 Sep 08
Edited by Cat Hope
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:
‘What a privilege to be involved in a journal about Australian music, let alone one whose core theme hovers around such noble questions as these: What is music in contemporary Australia? What processes do we use to make music? Where does music fit? What makes music new? What makes it of this place? It has been my intention, when editing the journal, to choose a variety of current practitioners: those moving on the fringes of what could be called “established” music annals, or those who have contributed to the fabric of Australian musical culture by being something of a maverick – rebelling against their background, experimenting with the new and unfamiliar, and not measuring success by popularity.’
Issue #2 – 28 Feb 08
Edited by Michael Hooper
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.
There are also startlingly few commercial recordings of new music from this era. Indeed, if there is one question that prompted the theme of this issue of resonate, then it is this: how is it that one can find endless references to Nigel Butterley’s In the Head the Fire as ‘the composition that won the 1966 Italia Prize ahead of Luciano Berio’s Laborintus II’, and yet listening to the piece requires a record player and a long-out-of-print LP...?
Issue #1 – 31 Jul 07
Edited by Rhiannon Cook and Danielle Carey
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.
So what exactly does this mean for the communities of people who consume, support, and make new music?
The impact of these changes is potentially enormous. The ability to connect globally with like-minded people means that individuals and smaller communities of practice have the possibility of finding their niche...