"…ngabaya painted all this, you know when we were kids we
would come here and look and sometimes the paintings would change,
they were always changing." Annie a-Karrakayny
Fully illustrated, Jakarda ...Wuka (Too Many
Stories) draws on a combined 70+ years of collaborative
research involving Yanyuwa Elders, anthropologists, and an
archaeologist to tell a unique story about the rock art from
Yanyuwa Country in northern Australia's southwest Gulf of
Carpentaria.
Australia's rock art is recognised globally for its antiquity,
abundance, distinctive motifs and the deep and abiding knowledge
Indigenous people continue to hold for these powerful symbols.
However, books about Australian rock art jointly written by
Indigenous communities, anthropologists, and archaeologists are
extremely rare.
Combining Yanyuwa and western knowledge, the authors embark on a
journey to reveal the true meaning of Yanyuwa rock art. At the
heart of this book is the understanding that a painting is not just
a painting, nor is it an isolated phenomenon or a static
representation. What underpins Yanyuwa perceptions of their rock
art is kinship, because people are kin to everything and everywhere
on Country.
Jakarda Wuka highlights the multidimensional nature of
Yanyuwa rock art: it is an active social agent in the landscape,
capable of changing according to different circumstances and
events, connected to the epic travels and songs of Ancestral Beings
(Dreamings), and related to various aspects of Yanyuwa life such as
ceremony, health and wellbeing, identity, and narratives concerning
past and present-day events.
In a time where Indigenous communities, archaeologists, and
anthropologists are seeking new ways to work together and better
engage with Indigenous knowledges to interpret the "archaeological
record", Jakarda Wuka delivers a masterful and profound
narrative of Yanyuwa Country and its rock art.
This project was supported by the Australian Research Council
and the McArthur River Mine Community Benefits Trust.*
Different from legacy acts, who rely on playing the hits, Radiohead bring a progressive spin to the legacy act phenomenon and the interplay with a devoted fanbase. Through analyses of music, lyrics, ...videos, and interviews, this study shows how the British art rock band, over a span of almost four decades, has communicated a profile development to its listeners from traditional rock patterns to their perfection, surpassing, and deconstruction. Congruently, the evaluation of online posts displays how fans mirror the group's cutting-edge mode by quasi-identifying as music experts and assessing the band's success of achieving the extraordinary in light of a future of rock music.
The term 'Canterbury sound' emerged in the late 60s and early 70s to refer to a signature style within psychedelic and progressive rock. Canterbury Sound in Popular Music:Scene, Identity and ...Mythexplores Canterbury as a metaphor and reality, a symbolic space of music inspiration which has produced its distinctive 'sound'.
Writing Wrong Notes Conklin, Andrew
Music theory online,
09/2019, Letnik:
25, Številka:
3
Journal Article
Recenzirano
This article analyzes the pitch language of Tune-Yards. Like many of its peers, Tune-Yards uses chromaticism to differentiate itself from the mainstream. Unlike its fellow post-millennial ...experimental pop bands, however, Tune-Yards primarily favors loop-derived compositional techniques that generate chromatic clashes between two or more musical layers. Tune-Yards is also noteworthy for the pervasiveness and variety of chromatic clashes throughout its recorded catalog. This essay presents three of Tune-Yards’ layer-based compositional techniques —
Caught in the Looper
,
Chromatically Inflected Melody
, and
Accompaniment-Derived Chromaticism
— and examines the ways in which they interact with intonation, timbre, lyrics, and form.
Archaeologies of Art Sanz, Ines Domingo; Fiore, Danae; May, Sally K
2008, 20160701, 2016-07-01, Letnik:
55
eBook
This international volume draws together key research that examines visual arts of the past and contemporary indigenous societies. Placing each art style in its temporal and geographic context, the ...contributors show how depictions represent social mechanisms of identity construction, and how stylistic differences in product and process serve to reinforce cultural identity. Examples stretch from the Paleolithic to contemporary world and include rock art, body art, and portable arts. Ethnographic studies of contemporary art production and use, such as among contemporary Aboriginal groups, are included to help illuminate artistic practices and meanings in the past. The volume reflects the diversity of approaches used by archaeologists to incorporate visual arts into their analysis of past cultures and should be of great value to archaeologists, anthropologists, and art historians. Sponsored by the World Archaeological Congress.
This paper examines the early history of gothic rock, focusing on the British band Bauhaus and its 1979 single "Bela Lugosi's Dead" as the putative origins of gothic rock. Bauhaus was by no means the ...first band to be associated with a gothic sound/style; however, an investigation of the musico-cultural and historical context of the song, the critical discourse that developed around it, the aesthetic-philosophic influences that informed Bauhaus's style, and the sonic palette of "Bela Lugosi's Dead" locates the song as the launching point of gothic rock and the genre's sine qua non.
1
Britain's Throbbing Gristle used a kind of aural and conceptual violence to pursue specific ideological goals. The concept of noise is crucial to the understanding of this use, but is often explained ...in a limiting discourse. Friedrich Kittler offers an alternative approach by showing how the introduction of media technology initially formed this discourse. When one assesses the use of noise and its relation to violence from such a media historic point of view, Throbbing Gristle's layered work becomes conceptually coherent and turns out to be an exemplary case study for the status of noise in popular music more generally.
Since the 1960s, British progressive rock band Jethro Tull has pushed the technical and compositional boundaries of rock music by infusing its musical output with traditions drawn from classical, ...folk, jazz, and world music. The release of Thick as a Brick (1972) and A Passion Play (1973) won the group legions of new followers and topped the Billboard charts in the United States, among the most unusual albums ever to do so. Tim Smolko explores the large-scale form, expansive instrumentation, and complex arrangements that characterize these two albums, each composed of one continuous song. Featuring insights from Ian Anderson and in-depth musical analysis, Smolko discusses the band's influence on popular culture and why many consider Thick as a Brick and A Passion Play to be two of the greatest concept albums in rock history.
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