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

对乔治亚时期英国私人音乐创作领域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内建立和维持社会关系，构建跨越家庭空间可渗透边界的友谊、贸易和其他社会关系的领域，以及创造和富有感情地为家庭材料环境上色。最近由AHRC声音遗产项目资助的合作研究进一步展示了如何通过家庭和家园的话语利用音乐来构建新的家园。对大约1800年“家”这个概念如何传播的分析表明，它是如何适应新的环境的，它是如何从家庭之外引入想法和形象的(对异国情调、新的动植物或土著社区的声音的“熟悉”或“驯化”)，以及它如何将从其他地方带来的家庭习俗印记到以前的现有环境中。澳大利亚殖民地的早期是一个引人注目的例子，因为在这个环境中，大量的英国国内音乐和音乐物品被输入，欧洲的音乐制作实践被改编和改造，作为创造独特的澳大利亚国内音景的一部分。在这类展览中，首个大型展览--《家乡与遥远岛屿之歌：1787-1860年澳大利亚和英国的音乐音景》(悉尼博物馆，2019年8月至11月)将探索殖民时期澳大利亚的国内音乐环境。这是一个关于歌曲的故事，开始于欧洲入侵澳大利亚之前的数千年，并在1788年英国第一舰队抵达悉尼之前被展览发现。关于这一时期的音乐学讨论主要是由早期英国殖民者脑海中和行李中带到澳大利亚的音乐所主导的，而了解殖民地音乐世界是如何演变的依赖于对这一背景的了解。因此，展览通过一系列对话(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(两国在定居期间的原始环境和新环境中的相同音乐)构建其叙事，突出从相遇、迁徙、适应和统治事件中产生的家园和家园的概念。英国材料对这一过程至关重要，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，英国本土音乐本身就是一种构建，借鉴了社会、历史、语言和地理上不同的来源；它们可以与奥斯汀同时代的伊丽莎白·麦克阿瑟(Elizabeth Macarthur)的音乐生活进行比较，麦克阿瑟是澳大利亚第一架钢琴的拥有者。英国历史遗迹中的电影和音乐录音将为令人信服的多媒体解释提供材料，并将其与澳大利亚目前的物品和文本联系起来。通过一个雄心勃勃的创意工作和公众参与计划，展览将得到加强。一位英国作曲家委托创作的一部新音乐作品将反映家庭和家园的展览主题，重点关注英国罪犯和定居者的经历。这将为以澳大利亚材料为基础的创作方案提供一个平行的努力，使表演者和新的音乐观众能够获得研究见解，并以类似的方式接触英国历史材料。英国和澳大利亚的工作坊将刺激遗产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乡的理解有关。

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.