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

家歌

• 批准号: AH/S003126/1
• 负责人: Laura Brooks
• 金额: $ 9.76万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FS003126%2F1
• 关键词: Songs; Home; Distant; Isles; Musical

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.

对英国乔治亚州私人音乐制作的大部分隐藏世界的研究揭示了音乐材料和实践是如何被用来形成和维持家庭和更广泛的家庭中的社会关系的;构建友谊，贸易和其他社会关系的领域，这些关系跨越了家庭空间的可渗透边界;以及创造和情感色彩的家庭材料设置。最近由AHRC声音遗产项目资助的合作研究进一步展示了音乐如何通过家庭和家园的话语来构建新的家园。分析了“家”的概念是如何传播的。《1800年》展示了它如何适应新的环境，如何从家庭之外引进思想和形象（对外来的、新的植物群和动物群，或土著社区的声音进行“熟悉”或“驯化”），以及它如何将从其他地方带来的家庭实践印刻到先前存在的环境中。澳大利亚殖民地的早期就是一个很好的例子，大量英国本土音乐和音乐物品被引入澳大利亚，欧洲的音乐制作方法被改编和改造，创造了澳大利亚独特的本土音景。“家乡之歌与遥远的岛屿：澳大利亚和英国的音乐声景，1787-1860'（悉尼博物馆，2019年8月至11月）将探索殖民地澳大利亚的国内音乐环境。这是一个关于歌曲的故事，始于欧洲入侵澳大利亚之前的几千年，并在1788年英国第一舰队抵达悉尼之前被展览所采用。这一时期的音乐学讨论主要是早期英国定居者的思想和行李中带到澳大利亚的音乐，了解音乐世界如何在殖民地演变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和非土著澳大利亚音乐之间）和比较（在原始环境中的相同音乐和在定居期间的新环境中的相同音乐）来构建其叙事，突出了从相遇，迁移，适应和自治领中出现的家园和家园的概念。英国的材料是至关重要的过程，并形成了展览的重要组成部分，同时也提供了机会，以实现广泛的影响，为美国人权委员会资助的研究。简·奥斯汀的家庭音乐书籍和相关物品表明，“英国家庭音乐”本身就是一个基于社会、历史、语言和地理上不同来源的结构;它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，她拥有澳大利亚第一架钢琴。英国历史遗迹中的音乐电影和录音将为引人注目的多媒体解释提供材料，以伴随和情境化现在在澳大利亚的物体和文本。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。一位英国作曲家委托创作的新音乐作品将反映家庭和家园的展览主题，重点是英国罪犯和定居者的经历。这将为基于澳大利亚材料的创意计划提供平行努力，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并参与英国历史材料。英国和澳大利亚的研讨会将刺激遗产游客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的理解相关。

项目成果

Sound Heritage - Making music matter in historic houses

声音遗产 - 让音乐在历史建筑中发挥重要作用

• DOI: 10.4324/9780429281327-12
• 发表时间: 2021
• 作者: Brooks J