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

Back to Warrnambool celebrations were an important event on the social calendar and were run over a number of years in the town. Some of the events held over the week included processions, sports Carnivals, concerts, card playing, Church services and local tourist events.Reginald Stoneham the composer of the song , "Back to Warrnambool,"was born in 1879 and died March 1942. He was a popular accompanist and recording artist in the early part of the 20th century. Other songs which he wrote include All for Australia, The drover, Bendigo for the weekly Times, Mildura and Home to Ballaraat.He also penned music under the name Alberto Algrati which were his middle names.This recording is a valuable piece of Warrnambool's history as it provides an original version of the song as it was sung at the time and also as a piece of Reg Stonehams work. The "Back to Warrnambool" celebrations were a major event on the social calendar of the town for a number of years.This is a 78rpm record in a brown paper sleeve with a circle cut out in the centre revealing the titleof the songs on each side of the record.On recording: Broadcast De Luxe Series Back to Warrnambool ( Reg Stoneham) Baritone Solo, Robert Nicholson. Side 2.A Hymn of Home. Male Quartet The Premier Four. Label Mrs Rowan Music House, 143 Liebig ST Warrnambool Phone 634. Cover:"His Masters Voice." Record.The Gramophone Co Ltd Sydney New South Wales. back to warrnambool, 78 recording, reg stoneham, mrs rowan music house, warrnambool history, 1930 warrnambool

This is a piece of music composed by Idabelle Firestone (1875-1954), an American composer and songwriter. She was born in Michigan and wrote many popular songs including, ‘Melody of Love’, ‘Bluebirds’ and ‘You are the Song in my Heart’. She was married to Harvey Firestone of the Firestone Tyre Company. This company sponsored the long-running radio and T.V. program called ‘The Voice of Firestone’ which had a 46 piece orchestra and aired classical and popular songs of the day. Richard Crooks (1900-1972), who sang and recorded this song, was a well-known American tenor who specialized in French and Italian opera and was associated with the New York Metropolitan Opera Company for many years. He was the host of ‘The Voice of Firestone’ from 1928 to 1945 and sang patriotic songs and popular hits etc. This copy of ‘In My Garden’ was sold at the shop of Miss H. M. Lindsay of 101 Liebig Street, Warrnambool. This shop is known to have operated in the late 1920s up to 1935 and was at first (in the 1920s) located at 180 Timor Street. This item is of some significance as an example of the type of music popular in the 1930s and an example of the work of Idabelle Firestone. It also has local significance as it was sold by a Warrnambool music store. This is a four page piece of music printed on seven sides (cover and five pages of music). The pages are cream-coloured, discoloured in places, with black printed musical notation and a back page printed in black containing advertisements for three other songs. The front cover has a sepia sketch of a woman (19th century or olde-worlde style) carrying a bunch of flowers and looking over a garden with an archway. There is a stamp (H. M. Lindsay, Warrnambool) and a pencilled number 6 (altering the price from 2/- to 2/6)Front cover: ‘Sung by Richard Crooks, In My Garden, Song for Medium or High Voice and Piano by Idabelle Firestone, Sung by Richard Crooks on H. M. V. Record E.D.23, Price 2/-, G. Schirmer Inc, New York, Allan & Co, Prop. Ltd., Melbourne, Sydney, Adelaide, Bendigo’idabelle firestone, richard crooks, h.m.lindsay, warrnambool, idabelle fireston in my garden music, sheet musicin my garden

This is a book of music produced by Allan & Co. English- born George Allan (1826-1897) was a pioneer singing teacher in Melbourne who joined the music warehouse of Wilkie and Webster in 1862 and became the sole proprietor in 1874. By the late 1870s Allan & Co was the largest music warehouse in the Southern Hemisphere. It was bought by Brashs Stores in 1998 and since then it has had a series of other owners operating on a limited scale. Allan & Co. had a music warehouse in Warrnambool later in the 20th century. The supplier of this music item in Warrnambool was Mrs Fanny Rowan (nee Lavery) who had a music store at 143 Liebig Street after 1918. Later, in the 1930s, she had a music and stationery shop in the Oddfellows Hall and, as the owner of the building, also operated the Plaza Cinema in that building. This item is of some interest mainly because it was sold by Mrs Fanny Rowan, a prominent Warrnambool businesswoman in the first half of the 20th century. It is also of interest because it is an example of the music produced by Allan and Co, at one time the largest supplier of music books in Australia. Also Warrnambool had for some time an Allans Music Store at 76 Liebig Street. This is a soft-cover book of 50 pages containing the music of well-known community songs. The pages were stapled but the staples have been removed and there are rust marks and some tearing where the staples were removed. The book has a buff-coloured cover with brown printed material on the back and front covers. The back contains a list of the music titles in another booklet, ‘Primary Melodies’. The front cover has a stamp of the music shop of Mrs Rowan of Liebig street, Warrnambool and there is a brown border of two lines on the front cover. The inside first page has a list of contents. Front Cover: ‘Volume One, Imperial Edition No. 164, Allan’s Community Songs, 1/6 net, Allan & Co., Melbourne, Sydney, Adelaide, Bendigo’. Front Cover in pencil: ‘A.L.Brodie’ Stamp: ‘ From Mrs Rowan, Music House, 143 Liebig Street, Warrnambool, Phone 634.’ allan & co, allans store,, warrnambool, fanny rowan music store, history

Item in the collection re Ron Bollard VX14150, refer Cat No 5919P.Soft cover book. Cover - cardboard, dark brown print on front and back on light brown background. Cover illustration dark brown sketch of a soldier in a trench (Sketch by Walter SEED). 40 pages - cut, plain, off white paper. Illustrated, sepia colour half portrait of "Signaller Tom Skeyhill".books, military history, ww1, anzac, songs

Ten Pretty Girls was composed by Jimmy Kennedy and Will Grosz wrote the lyrics. The song was written in the 1930's. Broadcasting from Sydney from 1936, Jim Davidson’s ABC Dance Band, with the trumpeter Jim Gussey, the vocalist Alice Smith and the trombonist and arranger George Trevare, became the most popular in the country. It presented dance programs on Friday and Saturday evenings and played for other ABC shows including `Out of the Bag’ and `A.B.C. Parade’. In 1937-39 the band made three interstate tours, with a variety of artists including Bob Dyer, Tex Morton and Gladys Moncrieff. Davidson was a strict but encouraging leader who inspired great loyalty in his players. (ref adb.anu.edu.au/biography)This is an example of the kind of music popular in the first half of the 20th century.Sheet music for "Ten Pretty Girls". The front cover is red and green and has a photograph of Jim Davidson from the A.B.C. National Dance Orchestra. There are details of the composer and lyricist and in the bottom right corner the price -2/-.sheet-music-ten-pretty-girls music

Produced for Enola Gay's participation in Hiroshima Day, Sat 6 August 1983, assembling at Belmore Park at 10 am under the Enola Gay banners. 0:00: Introduction and song; 3:50: Japanese instrumental music; 9:08: Commentary resumes - history of the bombing of Hiroshima, 6 Aug 1945, and Nagasaki 3 days later; 15:30: Music Tomorrow never comes until it's too late; 19:45: Commentary including accounts from survivors; 26:58: Music, Take the toys from the boys; 29:25: Commentary regarding arms race, including voice of Fabian LoSchiavo regarding dissident religious views in the USA; 33:05: Music, California dreaming; 36:10: Commentary re the practicalities of bomb shelters; 38:00: Music, Cancer, cancer; 41:40: Commentary re peace marches in Europe, health effects of radiation, civil defense in nuclear war, music; 47:35: Music, Universal soldier (cut off towards end), anti-war parody of Yankee Doodle Uncle Sam with Australian refs (Omega, Pine Gap etc); 59:10: Commentary regarding nuclear bomb testing at Marilinga (SA) and Monte Bello islands; 1:01:15: Music, 'But I aint a marchin' any more'; 1:04:05: Commentary re costs of arms race - refs to gay and feminist anti-war groups overseas; 1:05:58: Music, Down by the riverside/Aint gonna study war no more, promo for Enola Gay and prep for Hiroshima Day, instrumental music, music US forces (Midnight Oil), Soft touch (Poison Girls); 1:26:56: Music, Thank Christ for the bomb, eerie instrumental music, Maralinga (Midnight Oil), Not another bomb song, ending at 1:39:00.Maxwell UD XL I - C90 cassette tapeInscribed in biro on label: "ENOLA GAY Disarmament Special - Gaywaves 2SER 4/8/83."anti-nuclear activism, gay and lesbian activism, hiroshima day

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

The Grey Shrike-thrush is considered to be one of the best songsters in Australia, with hundreds, if not thousands, of different songs. The song has been described as glorious, pleasing and melodious, with sweet, mellow, rich and liquid notes. Whilst pleasant to humans, the song are less harmonious for nest birds, often hunted by the grey shrike-thrush. It has a varied diet consisting of insects, spiders, small mammals, frogs and lizards, and birds' eggs and young. Grey Shrike-thrushes most of Australia (with the exception of arid areas) and southern New Guinea. This specimen has been mounted in an accurate fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Grey Shrike-thrush specimen is a mostly grey coloured bird, with the plumage around the shoulders a little browner. The underside and neck is paler, off-white with a white ring around the eye. The eyes are made of glass which is a brown colour and replace the original which do not survive the taxidermy process. This specimen stands upon a wooden platform and has an identification tag tied around its leg.27a / Harmonious Shrike-Thrush / See Catalogue Page 12 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, australian birds, thrush, grey shrike-thrush, harmonious thrush, colluricincla harmonica

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male Superb Lyrebird is primarily grey/brown. It has striking tail feathers that are white, beige and darker brown that vary in size. Aside from the middle of its tail feathers, the parts of the bird which are darker brown include the top of its head, wings and back. The bird has strong legs and a small beak. This specimen stands upon a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male Superb Lyrebird is primarily grey/brown. It has striking tail feathers that are white, beige and darker brown that vary in size. Aside from the middle of its tail feathers, the parts of the bird which are darker brown include the top of its head, wings and back. The bird has strong legs and a small beak. This specimen stands upon a wooden platform. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird

The Superb Lyrebird is a large ground-dwelling bird with powerful legs and long tail. Found in rainforest habitats in southeastern Australia, it forages in leaf litter for food. It has a very powerful song and is known for mimicking other species. The males have spectacular long tail comprising a variety of feather types, where juveniles and females lack the longer tail feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Superb Lyrebird is primarily grey/brown. It has shorter tail feathers than the male, which are dark and light brown, and vary in size. The bird's wings, chest and belly are a lighter grey/brown, and there are hints of yellow-white in the edges of the feathers and through the bird's chest. The bird has strong legs and a small beak. This specimen stands upon a wooden platform.37a. / Lyrebird / See Catalogue, page [illegible] /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, superb lyrebird

Commercially printed Song book with blue cover featuring small portrait of composer. Contains words and music scores for 8 songs by Franz Schubert.non-fictionmusic, sheet-music, entertainment, indigenous songs, songs, franz schubert, allan and co music

Small information book issued to boy scouts attending the Pan-Pacific Jamboree at Greystanes, Sydney in December 1952 & January 1953. The light brown cover has a drawing of a boy scout, the Jamboree logo and some musical notes all in medium blue. It contains songs, shanties, rounds and hymns including a Jamboree Song written for the occasion. This copy belonged to John MAY, a member of the 2nd Port Melbourne Boy Scout Troop. Back cover - in pencil 2nd Port Melbourne (Vic) W.J. May. Front cover at the top W J May.club societies, 2nd port melbourne scout troop, john may, pan-pacific jamboree 1952-3

Document, Sheet Music, Take Me Back To Bendigo, By Alma Gray Phenomenally Successful Australian Song, written by Alan Rattray & Bert Rache. Signed on front; With all good wishes from Alma Gray,. On the back are the words & music to a song written and composed by Jack Russell titled 'Only a Leaf From the Tree of Life'''.The front has a label -W.H. Paling & Co LtdW.H.Paling & Co Limited, Sydney- Brisbane-Newcastledocument, names of bendigo pioneers, bendigo

Music and words to ''Song of Bendigo'' (Centenary Song - 1951) Three verses and Chorus. Music by Miss Winifred Batterham; words by Mrs Lucy Hill, winners of the Centenary Song Competition. Copy of pages 12 & 13 of Annals of Bendigo - 1951. b. Extract from Sydney Morning Herald 30 Oct 1950 announcing ''Jubilee Theme Song Wanted'' by Bendigo (Vic.) Centenary Festival Committee - entry details etc.Sydnery Morning Heraldentertainment, music, songs, miss winifred batterham, miss lucy hill, centenary song competition. miss e. a. goetze. commonwealth jubilee celebrations.

Object, A Programme from the Gold Rush Days,Traditional songs; local ballads, songs to sing and a dance tune or two, presented by members of The Emu Creek Bush Band (…Plus a ring-in!).Songs include; A Thousand Miles Away, The Miner, Road to Gundagai, Write Me A Letter From Home; and Dollie Gray, Waltzing Matilda,Click Go The Shears, The Drover's Dream, Take Me Back To Bendigo, Bendigo Ballard, Sutton Grange, Rose of Allandale- Waltz, Rakes of Mallow and Finnegans Wake - reel, The Irish Lilt - jig. Words of some songs are inside as well as some music. Players; Olive Dobbyn-Piano; Phyllis Swann-Violin; Jo Johnson-Violin.The sketches are mostly from S.T.Gill 1852-53.Concert on the Diggings( engraving from Illustrated Sydney News).The Emu Creek Bush Bandprogram, music, concert

Book. ALEC H CHISHOLM COLLECTION. 223 page paperback collection of bawdy folk-songs by Robert Burns. Includes an 8 page glossary of Scottish words. Edited by James Barke and Sydney Goodsir Smith. Notes by J. De Lancey Ferguson. Published by Panther Books in 1966 and printed by C.Nicholls & Co. Ltd., England. Catalogue sticker '2042 BUR' on spine. Handwritten in biro on first page 'to the Old Pretender from the Young'.Robert Burnsbooks, collections, poetry, alec h chisholm collection, robert burns, poetry

Book. ALEC H CHISHOLM COLLECTION. 92 page soft cover book of selected songs of the diggings (34 songs). B & W illustrations by Ron Edwards. Introduction is about Charles Thatcher and Bendigo. Published in 1958 (1st Edition) by The Rams Skull Press, Ferntree Gully and printed by Auburn Press. Catalogue sticker ''2073 AND'' on front cover. ''7/6'' handwritten in pencil inside front cover. Also inside front cover are 2 newspaper cuttings from the Sydney Morning Herald. Dated 30-8-58 a book review of the 'Goldrush Songster'. Dated 22-8-64 a book review of 'Who wrote the Ballads?' A quarto size roneoed copy of Biblionews (the Book Collectors' Society of Australia) Vol. 13 No.6 June 1960. entitled a 'Charles Robert Thatcher Checklist' by Hugh AndersonHugh Andersonbooks, collections, songs, alec h chisholm collection, hugh anderson, charles thatcher, goldrush songs

Book. ALEC H CHISHOLM COLLECTION. 128 page blue hardback collection of verse, Songs of the Sentimental Bloke. Illustrated with B & W sketches and a coloured dust jacket by Hal Gye. Published in 1957 by Angus and Robertson, reprinted from the original publication of 1915 with a forward by Henry Lawson. Printed by Halstead Press, Sydney. A glossary of Australian vernacular at the end of the book. The back of the dust jacket indicates that Alec H Chisholm was a biographer of C. J. Dennis. Catalogue sticker ''2077 DEN'' on spine.G. J Dennisbooks, collections, poetry, alec h chisholm collection, c.j.dennis, hal gye, poetry

Book. ALEC H CHISHOLM COLLECTION. A 32 page hardcover book of poems by Grace Perry, a 17 year old Sydney poet. Includes 2 pages of tributes from the press. Wholly set up in 1944 and printed by Consolidated Press, Sydney. Catalogue sticker ''2064 PER'' on front of dust jacket. Handwritten in biro on title page '' To our good friend Alx Chisholm with compliments of the author and her father, G R Perry 21/3/70.'' Also handwritten in biro on page 5 ''I think this extract is from the notice written by Alex Chisholm''. Referring to the tribute from The Herald, Melbourne.Grace Perrycottage, miners, alec h chisholm collection, grace perry, poetry

Book. ALEC H CHISHOLM COLLECTION. 32 page hardcover collection of poems by Grace Perry. Published and printed in 1944 by Consolidated Press Ltd., Sydney. Black and yellow dust jacket. Catalogue sticker ''2113 PER'' on spine. Handwritten in ink on title page ''With the compliments of the author. Grace Perry. 11/11/'44 ''Grace Perrybooks, collections, poetry, alec h chisholm collection, grace perry, poetry

Book. ALEC H CHISHOLM COLLECTION. 137 page hardcover small book of ''The Songs of the Sentimental Bloke'' by C. J. Dennis. Illustrations by Hal Gye. Published in 1916 by Angus & Robertson and printed by W. C. Penfold & Co. Ltd., Sydney. Includes a preface to 1st edition by Henry Lawson and a 21 page glossary. Catalogue sticker ''2079 DEN'' on spine. A faded newspaper cutting of slang origins by C. J. Dennis from Melbourne Herald, 24/5/34 pasted inside front cover..J. Dennisbooks, collections, poetry, alec h chisholm collection, c.j.dennis, poetry

The tunes in the set of sheet music are mostly marches, jaunty and bright songs from the 1910s. The sheet music were published by W H P & Co., which was the company of William Henry Paling, Sydney. Paling was born in the Netherlands in 1825. He was a musician, composer, and violin teacher at the Academy of Rotterdam. In 1853 he arrived in Sydney where he became a piano and violin teacher and a professor of music at a ladies' college. He opened the W H Paling music warehouse around the same time, at 85 Wynyard Square in Sydney. He initiated clubs and groups, was involved in fundraising in the community, and conducted a Philharmonic Society concert. He seized the opportunity to supply the growing demand for pianos and local sheet music, becoming an agency for European manufacturers. He made several trips to Europe to supply his business. In 1875 the firm opened up premises in George Street Sydney. On his 1884-85 trip, he met Pietro Marich, an Austrian musician and businessman who then joined Piling's company and successfully expanded it into large premises with showrooms. In 1886 Piling's brother John joined the firm as partner. In 1883 it became a limited liability company, setting up in other major cities. He had many civic involvements and eventually presented his model farm at Campden for use as a hospital, along with finances to erect buildings on the land. He became ill after a trip to Europe, passing away in 1895, but the company continued in business.The collection of sheet music represents the musical and entertainment taste of the early 20th century. Sheet music was collected from Europe and locally and played in homes and public gatherings for listening to, for dancing and for background music. It was even recorded and played on portable gramophones with wax cylinders.Sheet Music wet; three sheets of printed music, comprising two large sheets with two pages of music printed on each side in black ink, and one small sheet with one page of music printed on one side in red ink. Music on the large sheets is March Music by W H P & Co. no. 1437, which is the same company as the music on the last sheet, The Music on the small sheet is Tango Music by Paling & Co. Ltd, of Sydney, and established by William Henry Paling (W H & P Co). Music Titles on the large sheets are: - - Parade of the Tin Soldiers - Guard of Honour - Irish Guards March - Slope Arms Music title on the small sheet is: - - Caro Mio Tango (My Dear) by Silvo ArnoOn the large sheets: printed "W.H.P. & CO." "1437" and handwritten in pencil "268" On the small sheet: printed "THE LATEST SUCCESS" "Try this on your piano" "Price 1/6 or Post Free 1/7, From all Music Stores, or direct from the Publishers" "PALING & CO. LTD. George-st., SYDNEY."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sheet music, music, guard of honour, parade of the tin soldiers, irish guards march, caro mio tango (my dear), w h p & co., william henry paling, pietro marich, john piling, jos j kaiser, silvo arno, leon jessel, george street sydney, early 29th century, march music, tango music

xvi, 218 p. illus. : non-fictionA collection of stories of Aboriginal mythsaboriginal, human rights, myths, legends, robinson roland edward, australian indigenous tribes, storytellers, poetry, roper river, northern territory, sydney morning herald, the age, folk-lore, dreamtime legends, sacred songs, vesper alexander, worrell eric, naturalist, zoology, legend and dreaming

Published: 21 March 1934 The Age p11 Published title: CROWDED TOURIST SHIP WILL CARRY TEST AND DAVIS CUP TEAMS. Published caption: Carrying an exceptionally large number of tourists, business men and prominent sporting personalities, R.M.S. Orford sailed for London yesterday. Over two hundred passengers embarked at Melbourne, and on leaving the Australian coast there will be two thousand persons on board. The Australian Test team will join the vessel at Fremantle and the remaining two Davis Cup representatives will embark at Adelaide. A picture of the Orford taken just as she moved out from Station Pier, Port Melbourne, under her own steam. Trove article identifier: http://nla.gov.au/nla.news-article203826897 Description: Passenger ship about to depart Station Pier, Port Melbourne. Research by project volunteer, Fiona Collyer: The RMS Orford was built by Vickers-Armstrong Shipyard Barrow-in-Furness, Cumbria, England and launched in 1927 by Lady Ryrie, the wife of Sir Granville Ryrie, the Australian Ambassador to the UK. The Orford was owned by the Orient Steam Navigation Ltd and was designed for the mail and passenger service between England and Australia. She was 20,000 tons, 658 ft long, 75 ft across and 80 ft high from water-line to deck. She had eight decks, a swimming pool and cost more than £1,000,000. She could travel at 20 knots – 480 miles a day, a 5 week voyage between Australia and England. There were enough lifeboats to accommodate every person on board. Promoted as a ship of comfort, luxury, speed and grace with spacious, beautifully decorated lounges, smoking-rooms and writing rooms, the SMH 23/11/1928 review said “sitting-rooms where the furniture recreates the air of quiet, exquisite, safe luxury; suites where you may retire from other people, and on a sea voyage other people, even the most charming other people, often begin to resemble one’s worst enemies towards the end of several weeks sea voyaging together”. “Travel like a human being. This is what the great liners give you today. The Orford dining room is enormous (it seated 350 people) the walls sweep up to a white, cool roof supported on decorative pillars. Panels of grey scagliola and carved designs remove the bleak, comfortless air which used to cling to dining-rooms of ships. Everything about them was so wretchedly temporary that you could not enter them without wishing that you stayed at home. They gave you the creeps and indigestion. This room is gay, bright, sunlit, like a luxurious café overlooking the sea.” “You really feel in here that you are a human being and not a piece of cargo endowed with sensation.” The Orford had the punkah louvre system of ventilation which forced draughts through every part of the ship, ensuring “No Ship Smells!!” and avoiding - “… a mayonnaise of all the unpleasant odours generated under heaven. From the hot oil of the engines, from those overheated, bottomless pits below the water-line, from new paint and food, from people perspiring at work, from rope and tar and grease and fruit and wet clothes and tobacco, rises a deplorable incense that lingers unsettlingly in the nostril long after one has left the ship. Those dreadful odours will never rise to torture the senses of passengers who feel that all is over with them.” The modern electric kitchen had a roll making machine capable of producing 2000 rolls for the table an hour and a bread and butter machine which cut the bread into slices and spread the butter in one operation. (The Week – Brisbane 30/11/1928) On 13/10/1928, the Orford made its first voyage to Australia with 520 first class and 1100 3rd class passengers. The name of the passengers embarking and disembarking and their reason for visiting were published in newspapers and the number of migrants for the New Settlers Scheme and the Dreadnought Boys Co program to promote and assist the migration of British youths willing to become farm workers in Australia 1911-1939 were noted too. On the 19th March 1932, RMS Orford featured in the “Parade of Ships” celebrating the official opening of the Sydney Harbour Bridge. Only country people were allowed to book a ticket as a guest on board. The Post Office issued commemorative postage stamps showing the Orford sailing under the bridge. In March 1934, the Orford sailed from Australia to London, via Colombo, Aden, Port Said, Naples, Villefranche, Toulon, Parma, Gibraltar and Channel Port. Amongst the 2000 passengers on board was the Davis Cup Tennis team, tennis champions Joan Hartigan and Nell Hopman, the Australian Test cricket team and British champion swimmer Joyce Cooper. Every day tennis player Harry Hopman and an Australian Press Association reporter radioed through reports on their activities, which included – - Test cricket batsman Len Darling having spend 4 days in his cabin after straining his groin when he slipped over while playing ball tennis in his slippers. - Batsman Bill Brown dancing the fox-trot, displaying footwork similar to the grace he showed at the wicket. - Alluding to the seasickness of Don Bradman and Stan McCabe and how they were making up for meals lost on the Great (very choppy) Australian Bight. - Miss Joan Hartigan discarding her bright blue shorts for brighter blue bathers and being first into the pool. - Bowler Bill O’Reilly being tripped by a passenger on the deck and spending the voyage with bandaged wrists with daily updates of his progress in the press. - Wicketkeeper Ben Barnett’s conjuring tricks and constant whirring movie camera. - Results of the quoits, ball tennis and bridge tournaments. A fancy dress ball was held one night and the cricketers dressed as sheiks and sang “The Riff Song” from the pre-code 1929 operetta film “The Desert Song” starring John Bates as the Red Shadow and Myrna Lay as a native dancing girl. Alan Kippax’s beard blew overboard! Joan Hartigan dressed as Burlington Bertie from the music hall song and Nell Hopman a doll in a box wearing a crinkled paper dress. On arrival at Southampton, while they waited for the gangway to be lowered, Bradman entertained the team at the piano playing popular tunes while the cricketers sang. . In 1935, RMS Orford’s third class accommodation was converted to tourist class. Her passenger capacity was now 468 First Class, 515 tourist class and 440 crew. First saloon from Sydney fares cost for single £76, £82, £88 and Third Class fares were £21, £23, £25. Less than a penny a mile. . In 1936, the Orford embarked the exiled Emperor of Ethiopia, Haile Selassie at Gibraltar on his way to the UK. In 1939, she was requisitioned for Australian government service and on 7/1/1940 she conveyed the first Australian troops to Egypt and was then used to carry French troops from Tamatave, Madagascar to Marseilles. On 1/6/1940 RMS Orford was bombed and set on fire at Marseilles by German aircraft. 14 crew were killed, 25 wounded. In 1947, the wreck was re-floated and broken up at Savona. . . References: R.M.S. ORFORD. (1928, November 23). The Sydney Morning Herald (NSW : 1842 - 1954), p. 14. Retrieved September 15, 2023, from http://nla.gov.au/nla.news-article16511535 ARRIVAL OF THE ORFORD (1928, November 30). The Week (Brisbane, Qld. : 1876 - 1934), p. 21. Retrieved September 15, 2023, from http://nla.gov.au/nla.news-article181126802 CROWDED TOURIST SHIP WILL CARRY TEST AND DAVIS CUP TEAMS. (1934, March 21). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved October 5, 2023, from http://nla.gov.au/nla.news-article203826897 Photographer notations on slide: "B19".tennis, ships

Bernhard Gerstle & his family (parents & siblings) were German nationals working in Tehran, Iran upon the outbreak of World War II. In 1941, after the installation of a pro-British ruler to the Persian throne, all German nationals were targeted as threats to national security. The women and children evacuated to Stuttgart, Germany via Turkey, while the men were handed over to British forces. Bernhard was taken by ship (the SS Rona) to Bombay & then to Australia (on the SS Rangitiki). He was then marched in to Loveday internment camp 10, South Australia. In January 1945 the German & Italian internees at Loveday were transferred to Tatura Camp 1. Bernhard remained there until after the war & his eventual release, on 29th August 1946. Bernhard chose & was granted permission to remain in Australia post-war, as did many civilian internees, after their examination by a Committee of Inquiry which investigated their political leanings & other criteria for their supposed suitability as Australian residents. The biography also recounts his employment post-war, marriage in 1952 & his later naturalisation as an Australian citizen. Other material includes Gerstle family history from the perspective of Bernhard's sister & family, who remained in Stuttgart; background on the Gerstle family's Russian origins; and a biography of Oskar Speck, famous kayaker, amongst other things, who was interned along with Bernhard & who became good friends with the family; a brief historical background of the Allied forces/Persia invasion; and extracts of Tatura Camp 3 internee Helga Griffin's book, "Sing Me That Lovely Song Again". Black plastic A4 display folder. CD soft case with CD. Folder contains printed biographical information regarding Bernhard Hermann Gerstle. CD contains copies of same documents and also copies of photographs of Bernhard & the Gerstle family. Folder: Bernhard Hermann Gerstle/ Gerstle Family/ Loveday and Tatura Internment Camps 1941-1946/ Sydney 1946-1978/ Compiled by Mary Henderson 2013 CD: BH Gerstle; 1941 - Interned by British/ 1941-1946 - Internee at Loveday SA, Tatura VIC/ Sydney 1946-1978. camp 1, tatura, loveday, world-war-two, internment-camps

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of one of the lead singers of the with the Official Apr-May 70 Sydney Concert Party, Glenise Shearman is engrossed in her rendition of a song to the assembled Diggers at 1 ATF Base Nui Dat, Luscombe Bowlphotograph, entertainers, glenise shearman, sydney concert party, 1 atf, nui dat, luscombe bowl, official apr-may 70 sydney concert party, 1st australian task force, diggers, denis gibbons

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of the musicians and artists with the Official Apr-May 70 Sydney Concert Party, Erica De Wit, Brian Doyle, Walter Preston, Wendy Snushall of the "Prestons", Graham Quy, Glenise Shearman, John Spillman and Neil Yeoman thank the diggers after their afternoon show. is engrossed in her rendition of a song to the assembled Diggers at 1 ATF Base Nui Dat, Luscombe Bowlphotograph, 1 atf, nui dat, luscombe bowl, sydney concert party, erica de wit, brian doyle, walter preston, wendy snushall, graham guy, glenise shearman, john spillman, neil yoeman, gibbons collection catalogue, entertainers, official apr-may 70 sydney concert party, 1st australian task force, denis gibbons