"The Student Prince" is an Operetta in four acts, music by Sigmund Romberg and book and lyrics by Dorothy Donnelly, based on W. Meyer-Forster's play "Old Heidelberg".Bendigo Operatic Socety Music Programme for "The Student Prince" - a musical in 4 acts, opening for 6 nights, 15th, 16th 17th, 22nd, 23rd and 24th June 1972 - A5 booklet with 16 pages - booklet consisting of lists of individuals participating and organizing the concert, advertisements, acknowledgments, synopsis of story and scenes. Included also are cast, musical numbers and Orchestra.programme, concert, bendigo operatic society, capital theatre

"No No Nanette is a musicall in three acts music by Vincent Youmans and Lyrics by Irving Ceaser and Otto Harbach based on Frank Mandel's 1919 Broadway play.. Music Programme for "No No Nanette" a musical in 3 acts by the Bendigo Operatic Society, opening December 2nd-6th 1980 at J.B. Osborne Theatre, Kangaroo Flat - A5 booklet with 16 pages - booklet consisting of lists of individuals participating and organizing the concert, advertisements, acknowledgments, synopsis of story, musical numbers and scenes. (2 copies)programme, concert

"Oklahoma!" is the first musical written by Rodgers and Hammerstein and is based on Lynn Rigg's 1931 play "Green Grow the Lilacs'. Music Programme for "Oklahoma!"-an 8 page programme with advertisements, acknowledgements, details of cast and story synopsis (Penned date 1985)programme, concert

Document. Page from a newspaper with a cartoon drawing (Full page). Cartoon shows a young lady in a long white dress. She is holding a music manuscript and appears to be singing. Behind her are three seated portly gentlemen wearing tuxedos. Two are playing harmonicas and the third is playing the violin. Written below the cartoon, PLAYING SECOND FIDDLE. (This week it is all Amy Castles: politics and wars are considered trifles).MISTER BARTON: ''To think that we three great men should have to sing small in the presence of a slip of a girl like this!''.performing arts, elocution, cartoon drawing

London College of music certificate. Certificate first class. This is to certify that Catherine Sinclair having duly fulfilled the requirements of the examiner has been awarded the certificate of merit. Subject: Pianoforte Playing .ephemera, mementoes, london college of music certificate

Australian music examinations board. Public examinations in music. Conducted by the universities of Melbourne, Adelaide, Queensland, Tasmania and Western Australia and the State conservatorium of music New south Wales. Pianoforte grade V - 1924 - Issued under the authority of the Australian music examinations board. Price 2/6 Net. the book has 27 pages. Contents: Exercises for gaining control over tone gradations - Exercises beginning with the tonic - With the supertonic - With the mediant - With the subdominant - With the dominant - Exercises introducing thirds - Staccato exercises - Wrist staccato - Easy phrasing exercises - Preparatory contrary motion exercises - Exercises in scale playing - List A - List b March - Bourree - List C sonatina - Rondo - Sonatina - List D elfin dance - Mazurka - A fairy tale.books, music, pianoforte grade v

A Bendigo advertiser article titled 'The Boy Friend is Soon To Be At Bendigo'. This article includes photos of the Bendigo Teachers' College cast rehearsing for 'The Boy Friend'. (a) A photo of Noel Thompson and Eileen Florence rehearsing their song 'I could be happy with you'. (b) A photo of Ethel Prichard who plays the role of the French maid Hortense. (c) The third photo is of the cast singing 'Wont you charlston with me?' Dated C 1960.bendigo, education, performing arts, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo teachers' college students, bendigo, education, tertiary education, drama, musical, entertainment, music, dancing, costume, theatre, performing arts, photo, photograph

The Wangaratta Tin Kan Band, a significant part of local folklore, was formed mainly for the purpose of raining funds for the district hospital. The original drum was a discarded carbine tin, hence the band's name Tin Kan Band. The band was formed in 1914 by Syn Emery and was active until 1935. Music was important in this era for public and social functions. The instruments played were tin whistles, mouth organs, accordions, banjos, violins, guitars, drums, wash boards and anything that would make a musical sound; they often made their own instruments such as one string fiddles. Each band member had their own distinctive costume. The band members were mostly business men and shop owners who used their talents to entertain at public functions. They organized sports meetings, dances, concerts and anything that would help the hospital financially and in the depression of the 1930's; they were the mainstay that helped keep the hospital going. Very significant in local public and social functions and a part of local folk lore.The Wangaratta Tin Kan Band, a significant part of local folklore, was formed mainly for the purpose of raising funds for the district hospital. The original drum was a discarded carbine tin, hence the band's name Tin Kan Band. The band was formed in 1914 and was active until 1935. Music was important in this era for public and social functions. The instruments played were tin whistles, mouth organs, accordions, banjos, violins, guitars, drums, wash boards and anything that would make a musical sound; they often made their own instruments such as one string fiddles. Each band member had their own distinctive costume. The band members were mostly business men and shop owners who used their talents to entertain at public functions. They organized sports meetings, dances, concerts and anything that would help the hospital financially and in the depression of the 1930's; they were the mainstay that helped keep the hospital going. tin kan band syn emery music

The Finn Koren Collection.A4 size booklet with black comb binding and plastic covers back and front. 20 pages. Details all components of the Williamstown High School Concert Band tour to New Zealnad in 1992. Itinerary, flyer, information about New Zealand, band profile, extra-curricula activities, emergency procedure, items to take,procedure for taking musical instruments on flights, items played, stage set up, instruments, students and staff list (phone numbers redacted.)Student comments inside front cover. "Fk" top right front cover. See pdf.williamstown high school, music tours, new zealand concert band tour, 1992

The Finn Koren Collection.A4 booklet of light card. Program of the Williamstown Summer Festival which was held on 26th-30th January 1994. Williamstown High School soul band, The Wet Reeds, played at the event.williamstown high school, 1994, music, williamstown summer festival 1994, the wet reeds

5 sheets of colour photographic proofs of a violinist playing her instrument. 4 sheets of 5 photos and 1 sheet of 4 photos. All the same student. The photographs were taken for publicity purposes.williamstown high school, music, violinist, 1998, publicity shots

Colour photograph of Teacher Finn Koren with student playing trumpet.williamstown high school, music, 1994, finn koren

Black and white photograph of students playing flutes. They are part of the Williamstown High School Concert Band and they visited Newport Primary School in 1990.on back of photograph: L to R Zillah Goga. Ellisa Healey, Tong Lee. Photo by Colin Wiseman.williamstown high school, music, 1990, concert band, newport primary school

This mikiphone has an approximate manufacture date of circa 1926. It is stamped in the interior with the maker’s mark of Palliard Cie (St Croix), who partnered with the patent owners, Nicolas and Etienne Vadasz for the large scale production of the mikiphones. A Mikiphone – or Pocket Phonograph is one of the earliest versions of a portable music player. The Mikiphone was small enough to fit into a pocket for portability, and once unpacked had the ability to play 10” records. Power was supplied to the unit by a small hand crank, and sound was amplified by a small resonator. It is estimated that 100,000 to 180,000 of the units were made between 1924 and 1927. Luxury editions were also available with either a gold or silver casing. Le Corbusier is quoted as saying he could ‘see in the Mikiphone the essence of Esprit Nouveau’. The pocket gramophone is significant for historical and social reasons. It is primarily an enabler of leisure activities due to its portability and size. The design of the object is also significant as it showcases design advancements in the early part of the 20th century. The Swiss made "Mikiphone", the smallest talking machine ever placed on the market folded up to the size of a large pocket watch or small cheese case. Production stopped in 1927. A total of 180,000 were made. A few were made in a luxury version with gold or silver case for a "Pretentious clientele".Inside on dial: Mikiphone / Pocket Phonograph / Swiss made / System Vadasz. Outside: Pocket Phonograph / Mikiphone / System Vadosz / Patented in all countries.pocket phonograph, mikiphone, gramophone, pocket, music player, swiss made, switzerland

This book contains a collection of literary works written by William Shakespeare. Shakespeare was an English playwright, poet, and actor, widely esteemed as the foremost writer in the English language and the world's premier dramatist. Often hailed as England's national poet, his surviving works comprise around 39 plays, 154 sonnets, three lengthy narrative poems, and a handful of other verses, some of which are of uncertain authorship. His plays have been translated into every major living language and are staged more frequently than those of any other playwright. Shakespeare remains arguably the most influential figure in English literature, with his works persistently reinterpreted and reimagined. Ruyton Girls' School has a long tradition of awarding prizes to students at annual "Speech Night" events. Speech Night at Ruyton is an extraordinary occasion. It is a time when we gather to celebrate both the year just lived and the contribution of our Year 12 girls to the life of our School. It is a night of stirring student speeches, acknowledgement of student endeavour and excellence and awe-inspiring performances by School choirs and ensembles. The record has strong historic significance as it was awarded to a former notable student, Helen Gordon (maiden name Cole). Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. This historic significance is further enhanced by Ruyton's bygone "Shakespeare Night" tradition. A celebration of ‘culture’, and a chance to enjoy some ‘fun and games, cakes and ale’, were the motivation behind Ruyton’s annual Shakespeare Night party, led by longstanding Principal Miss Hilda Daniell. In her book, "The History of Ruyton 1878-1956", she describes how the yearly tradition began in 1915, just two years after she took over the role of Principal. That first Shakespeare Night, the senior girls and other guests gathered in the School’s chrysanthemum-filled dining room for music, games and supper. Such fun was had that the festivities became an annual event and was one of the coveted privileges of being one of Ruyton’s older girls. The Night was always held as close and possible to April 23rd, which is the date of William Shakespeare’s death, and the approximate date of his birth. Senior girls and some staff and parents would be invited to a party in the School. There, Shakespearean songs were sung, his poetry recited, and scenes from his plays were acted. Sometimes a competition was held to see who could recognise the largest number of quotations. In other years all the attendees would dress as Shakespearean characters. In a nod to a minor character from ‘A Midsummer Night’s Dream’, Senior teacher Miss Dorothy Derham famously came disguised as a lion one time, and no one knew who it was until she dramatically removed her mask at the end of the evening. Whatever the programme, the Night always drew to a close with a delicious supper that included a spectacular birthday cake especially in honour of the Bard. (Accompanying it may have been the ‘ale’ of Miss Daniell’s description, though of course it was presumably of the ginger rather than the alcoholic variety.) The evening was complete when ‘God Save the King’ and ‘Auld Lang Syne’ were sung. Shakespeare Night was held almost without interruption from 1915 to at least the mid 1950s. Only in 1919, with the threat of Spanish Flu, did the Night get cancelled. Later, fear of Japanese invasion in the Second World War years, and the consequent black-out restrictions, turned the ‘Night’ into an afternoon event. Thankfully, Miss Daniell notes, "from 1944 the programmes could be given as usual", though as we now know, it was a School tradition that eventually faded away. The record's significance is also supported by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Navy leather hardcover bound book with gold detailing on front cover and spine. 1,164 pages.Front Cover: R / RECTE ET FIDE LITER / RUYTON / Spine: SHAKESPEARE'S / COMPLETE / WORKS / OXFORD / Inside Cover: R / RECTE ET FIDE LITER / RUYTON / PRIZE / AWARDED TO / Helen Cole / FOR / Latin / VB / H. Daniell. / 9th Dec. 1949 / Katie Alsop Memorial Prize /ruyton girls' school, school, students, prize, speech night, poetry, lord tennyson, queen victoria, senior school, high school, ruyton, old ruytonians' association

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

Comprises a CD with details of how to play and a comprehensive little book with illustrations, on how to select, store and play a gumleaf.CD with bookletleaf music, gumleaf playing, musical instruments

For almost 40 years, Michael Walsh has been working alongside Indigenous people: documenting language, music and other traditional knowledge, acting on behalf of claimants to land in the Northern Territory, and making crucial contributions to the revitalisation of Aboriginal languages in NSW. This volume, with contributions from his colleagues and students, celebrates his abiding interest in and commitment to Indigenous society with papers in two broad themes. ?Language, identity and country? addresses the often complex relations between Aboriginal social groups and countries, and linguistic identity. In ?Language, identity and social action? authors discuss the role that language plays in maintaining social identities in the realms of conversation, story-telling, music, language games, and in education. ?Language and Social Identity in Australian Indigenous Communities? will be of interest to students of linguistics, Indigenous studies, anthropology, and sociology. Contents: 1. Introduction /? Rod Gardner ... [et al.] 2. Michael Walsh : a personal reflection /? Ros Fraser 3. Place and property at Yintjingga/?Port Stewart under Aboriginal Law and Queensland Law /? Bruce Rigsby and Diane Hafner 4. Linguistic identities in the eastern Western Desert : the Tindale evidence /? Peter Sutton Juwaliny : dialectal variation and ethnolinguistic identity in the Great Sandy Desert /? Sally Dixon 6. Who were the 'Yukul'? and who are they now? /? Brett Baker 7. Colonisation and Aboriginal concepts of land tenure in the Darwin region /? Mark Harvey 8. Aboriginal languages and social groups in the Canberra region : interpreting the historical documentation /? Harold Koch 9. The Kuringgai puzzle : languages and dialects on the NSW Mid Coast /? Jim Wafer and Amanda Lissarrague 10. Dawes' Law generalised : cluster simplification in the coastal dialect of the Sydney language /? David Nash 11. Space, time and environment in Kala Lagaw Ya /? Lesley Stirling 12. Turn management in Garrwa mixed-language conversations /? Ilana Mushin and Rod Gardner 13. Laughter is the best medicine : roles for prosody in a Murriny Patha conversational narrative /? Joe Blythe 14. Collaborative narration and cross-speaker repetition in Umpila and Kuuku Ya'u /? Clair Hill 15. Co-narration of a Koko-Bera story : giants in Cape York Peninsula /? Paul BlackMaps, b&w photographs, charts, word listslanguage and identity, language maintenance, language and culture, language and country

With the cover framed, the remaining four pages of the interior of the program remain in the collection. The entertainment commenced with music performed by Rene Breggozzo and Continental String Orchestra, Ballet music from Gounod's Faust and this was followed by a Cinesound Review and a Universal news reel. As usual, in these programs, the entertainment continued with a short movie, Laurel and Hardy in "Beau Hunks" and Wm T Tilden performing in "Volley and Smash". A rendition of the Meditation from Jules Massenet's "Thais" was performed by Rene Bregozzo prior to interval. After interval the main feature "The Sin of Madelon Claudet", starring Helen Hayes and Lewis Stone was shown and the evening concluded with the orchestra playing the national anthem.The program reveals the type of entertainments of people who attended theatres in the 1930s. The classical-style music performed during the evening's movie entertainments tell us that this style of music was very popular throughout the population. The pages of the program have many advertisements for businesses ranging from sewing machines sold by Ward Bros. of North Melbourne (a picture of a treadle machine illustrates the advertisement) to the "Claire" florist of Queens Walk and the shop selling dancing shoes, G.M. Coutie of Elizabeth Street. A theatre program also reveals information about the location where the entertainment is enjoyed.Cover of a program for a film shown at the Athenaeum Theatre September 1931; the image is framed and hangs in Archives room.athenaeum theatre, program, programme, the sin of madelon claudet, helen hayes, lewis stone

The Bell Shakespeare Company leased the Athenaeum Theatre for plays performed in Melbourne for its 1993 season. The company toured the productions in Sydney, Adelaide and Canberra, commencing on 26 March and ending on 24 July. All plays were directed by John Bell and he usually took the leading role. The plays were Romeo and Juliet, Richard lll, Hamlet. The music was composed by Nigel Westlake.Performances of Shakespearean plays have been held at the Athenaeum over many years. The Bell Shakespeare Company performed several times at the Athenaeum Theatre. The company was founded in 1990.Paper brochure, black and white cover, 55 pages, includes photographs of scenes from the plays and photographs of the actors.bell shakespeare company, 1993 season, john bell, nigel westlate

Produced by "Kids Show" - a ballet-pantomime . This production was first staged in 1981 and toured around Australia. The production is performed to some of George Gershwin's music.Small posterthe wonderful wizard of oz, kidshows, rex reid dance company, athenaeum theatre, pantomime

''It's dangerous to allow yourself to be loved'' This Theatrical adaptation of the ''Song of Solomon'' will challenge your perception of love. Cost at the door: $19.90 Full / $17 Friends and $12 Concession. Directed by Robert Draffin Designed by Lloyd James Cast : Mary Sitarenos , Paul English , Kerry Armstrong , Margaret Mills , Deidre Rubenstien. Musician : Chris Young .Music by Tyrone Landau and Chris YoungIt was played as a limited three week performance. It was sponsored by the Sidney Myer Fund, SBS 1224, Arts Victoria and Australian Council for the Arts.coloured flyersong of songs, athenaeum theatre, kerry armstrong