Songs of Home & Distant Isles: Musical Soundscapes of Australia and Britain, 1787-1860

对格鲁吉亚时期英国私人音乐创作的隐秘世界的研究揭示了音乐材料和实践是如何被用来在家庭和更广泛的家庭中形成和维持社会关系的；构建友谊、贸易和其他社会关系的领域，跨越家庭空间的渗透边界；并创造和有效地色彩国内材料设置。最近由美国人权委员会声音遗产项目资助的合作研究进一步表明，音乐可以如何通过家庭和家园的话语来构建新的家庭。对1800年“家”概念如何传播的分析表明，它是如何适应新环境的，它是如何从家庭以外的地方引进思想和形象的（“熟悉”或“驯化”异国情调，新的动植物，或土著社区的声音），以及它是如何将从其他地方带来的家庭实践烙印到先前存在的环境中的。澳大利亚殖民地的早期提供了一个令人信服的例子，作为一个环境，大量的英国国内音乐和音乐物品被进口，欧洲音乐制作实践被改编和转变为创造独特的澳大利亚国内音景的一部分。“家乡与遥远岛屿之歌：1787-1860年澳大利亚和英国的音乐景观”（悉尼博物馆，2019年8月至11月）是首个此类大型展览，将探索殖民时期澳大利亚的国内音乐环境。这是一个在欧洲人入侵澳大利亚之前几千年就开始的关于歌曲的故事，在1788年英国第一舰队抵达悉尼之前的展览中展出。关于这一时期的音乐学讨论主要是由早期英国定居者的思想和行李中带到澳大利亚的音乐所主导，而理解音乐世界是如何在殖民地发展的，则依赖于对这一背景的了解。因此，展览通过一系列对话（在英国和澳大利亚的土著音乐和非土著音乐之间）和比较（在定居期间两国的原始环境和新环境中的相同音乐）构建了它的叙事，突出了从相遇、迁徙、适应和统治中出现的家庭和家园的概念。英国材料对整个过程至关重要，是展览的重要组成部分，同时也为AHRC资助的研究提供了广泛影响的机会。简·奥斯汀的家庭音乐书籍和相关物品表明，“英国家庭音乐”本身就是一种结构，它吸收了社会、历史、语言和地理上不同的来源；他们可以与奥斯汀同时代的伊丽莎白·麦克阿瑟的音乐生活进行比较，伊丽莎白·麦克阿瑟是澳大利亚第一架钢琴的主人。英国历史遗迹中的电影和音乐录音将为澳大利亚的文物和文本提供引人注目的多媒体解释材料。展览将通过一个雄心勃勃的创意工作和公众参与计划来加强。受英国作曲家委托制作的新音乐作品将反映展览主题“家和家园”，重点关注英国囚犯和定居者的经历。这将为基于澳大利亚材料的创造性项目提供一个平行的努力，并允许表演者和新的音乐观众以类似的方式获得研究见解和参与英国历史材料。在英国和澳大利亚举办的工作坊将激发文物参观者进一步探索历史和音乐主题，并反思音乐如何与他们自己对家园的理解联系起来。

Research into the largely hidden world of private music-making in Georgian Britain has revealed how musical materials and practices were used to form and maintain social relations within the family and wider household; to construct spheres of friendship, trade, and other social relations that crossed the permeable boundaries of domestic space; and to create and affectively colour domestic material settings. Recent collaborative research funded by the AHRC Sound Heritage project further shows how music could be used to construct new domesticities through discourses of home and homeland. Analysis of how the notion of 'home' travelled c. 1800 shows how it bent to accommodate new surroundings, how it imported ideas and images from outside the home (the 'familiarising' or 'domesticating' of the exotic, of new flora and fauna, or the sounds of indigenous communities) and how it imprinted domestic practices brought from elsewhere onto previously existing contexts. The early period of Australian settlement provides a compelling case in point, as an environment into which vast amounts of British domestic music and musical objects were imported, and where European music-making practices were adapted and transformed as part of the creation of a uniquely Australian domestic soundscape.In what is the first major exhibition of its kind, 'Songs of Home & Distant Isles: Musical Soundscapes of Australia and Britain, 1787-1860' (The Museum of Sydney, August-November 2019) will explore the domestic musical environment of colonial Australia. It is a story of song that begins millennia before the European invasion of Australia and is picked up by the exhibition just before the arrival of the British First Fleet in Sydney in 1788. Musicological discussion of this period is dominated by the music brought to Australia in the minds and luggage of early British settlers, and understanding how the musical world evolved in the colony relies on knowledge of this context. The exhibition accordingly constructs its narratives through a series of dialogues (between indigenous and non-indigenous Australian music, in Britain and Australia) and comparisons (the same music in its original settings and in new environments in both countries during the period of settlement), highlighting the concepts of home and homeland that emerge from episodes of encounter, migration, adaptation, and dominion. British materials are crucial to the process and form an essential part of the exhibition, while also providing opportunities to achieve extensive impact for AHRC- funded research. Jane Austen's family music books and related objects show how 'British domestic music' is itself a construct drawing on socially, historically, linguistically and geographically disparate sources; and they enable comparison with the musical life of Austen's contemporary Elizabeth Macarthur, the owner of Australia's first piano. Films and recordings of music in historical sites in Britain will provide material for compelling multimedia interpretations to accompany and contextualise objects and texts now in Australia. The exhibition will be enhanced by an ambitious programme of creative work and public engagement. A new musical work commissioned from a British composer will reflect on the exhibition themes of home and homeland, focussing on the experience of British convicts and settlers. This will provide a parallel endeavour to the creative programme based on Australian materials, and allow performers and new music audiences to access research insights and engage with British historical materials in a similar way. Workshops in both Britain and Australia will stimulate heritage visitors to further explore historical and musical themes and to reflect on how music relates to their own understanding of home.