Building audiences: Aboriginal and Torres Strait Islander arts

Building Audiences examines the barriers to and the strategies for increasing audiences in the Aboriginal and Torres Strait Islander arts sector. This research investigates the attitudes, beliefs and behaviours of current and potential audiences. What is in the report? The findings reveal the key barriers facing audience attendance include: uncertainty about how to behave at cultural events and fear of offending lack of awareness with audiences not actively seeking information about Indigenous arts and outdated perceptions of the sector – that it is only perceived as ‘serious or educational’. Building Audiences also considered several strategies to build audiences for Indigenous arts: providing skills development, advice and resourcing to Indigenous practitioners within the arts sector; increasing representation of Indigenous artists in the main programing of arts companies by including more Indigenous people in decision making roles; promoting relationships between Indigenous arts and non-Indigenous companies to present their work to wider audiences; introducing children and young people to Indigenous arts through schools and extracurricular activities; allowing audiences to feel comfortable engaging by creating accessible experiences; implementing long-term strategies to change negative perceptions of Indigenous arts. The project was commissioned by the Australia Council for the Arts and funding partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne

Exploring micro-worlds of music meanings

A musical practice may have exclusive meanings shared only by some groups of people within a society. In fact, music has the capacity to create spaces for reserved communication between groups of individuals. Within these ambits, performance activity accompanies more or less articulated forms of thinking of the same performers and parts of competent listeners, since, if nothing else, each musical event is imagined previously and discussed afterwards. This shared knowledge impregnates the concreteness of musical expression, often explaining the variability which is perceptible when listening from outside the group. To investigate this kind of ambit of construction of meanings, it is necessary to try to get as close as possible to the cognitions shared by those who belong to it. To this end, a very significant contribution can come from heuristic approaches based on the strategies of dialogue, above all, negotiated dialogues (and not simple juxtapositions of different opinions) where, on the basis of deep mutual trust, through the intertwining and interaction of different points of view, elements of interpretation emerge for the scholar. This text aims to deal with this, based on a concrete methodological experience

Australian Musical Futures: The New Music Industry

On September 5th 2008, the Music Council of Australia held a national summit, bringing together 100 leaders in the music field to identify and debate the major issues facing the music sector in Australia. The summit was structured into four expert groups. This paper was commissioned to brief participants in the 'New Music Industry' stream, one of the four expert groups assembled for the event and chaired by the author. Against the background of major international trends, the paper summarises the major issues, roadblocks and opportunities in the Australian music industry in 2008 across the domains of recording, live performance and digital distribution. The paper also includes a survey of existing government support to the industry and the activities of the Contemporary Music Working Group to develop a comprehensive contemporary music strategy in partnership with the Australian government

Elementary String Orchestra: A Hybrid Curriculum

Remote and distance musical instruction can be traced back to the earliest transmissions of radio and television. In the last few decades, it has made considerable strides due to the development of the internet and growing supportive software and online platforms. However, when the COVID-19 virus swept the world, many school districts were forced to convert to full- remote instruction instantaneously. While some unique and beneficial strategies developed out of this, many aspects and strategies proved to be less than ideal and inferior to in-person instruction, particularly where it pertained to performance and ensemble-based instrumental instruction. This project strives to create a hybrid curriculum for a 5th-grade elementary orchestra. It combines the successful methods and practices found within remote instruction with the aspects of live, in- person instruction essential to teaching music ensembles, especially for those with string students of this particular age group. This curriculum is created to work in conjuncture with preparing repertoire for orchestra concerts while it simultaneously expands students’ technical knowledge, skills, and competencies in playing their instruments and fosters critical thinking and musically reflective skills within students

Saved by \u3ci\u3eLabell\u3c/i\u3e: Local Taxation of Video Streaming Services

Over the last few years, Netflix and other video streaming services have erupted to become a preeminent form of entertainment for millennials and the public at large. With traditional forms of entertainment waning, video streaming services represent a novel source of revenue for cities. Local governments currently have numerous tax approaches that may be used to cover these services. Different cities and states have taken distinctive approaches to taxing these services. Certain jurisdictions tax them in line with traditional pay-TV providers under utility taxes, while other jurisdictions tax them under sales or amusement taxes. This Note considers these different approaches, with a focus on Labell v. City of Chicago, a 2018 case upholding Chicago’s application of its amusement tax to Netflix and other video streaming services. Recognizing the various constraints that state and federal laws place on local taxation, this Note outlines the benefits and drawbacks of different approaches and highlights the challenges that cities should consider when issuing interpretive rulings to bring video streaming services into their tax bases. This Note suggests that other cities should draw on Labell and follow Chicago’s lead in taxing these services under existing amusement tax laws where possible, given the easier procedural hurdles, strong theoretical backing, and recent supporting precedent from the U.S. Supreme Court

Native Artists: Livelihoods, Resources, Space, Gifts

Examines the experiences of Ojibwe artists in Minnesota, including access to training, funding, space, paying markets, and institutional support; discrimination and isolation; and relationships with communities. Profiles artists and makes recommendations

Spartan Daily, March 25, 1992

Volume 98, Issue 43https://scholarworks.sjsu.edu/spartandaily/8256/thumbnail.jp

The acoustic, the digital and the body: a survey on musical instruments

This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc