This chapter explores two important interlinked strands in relation to Australian children’s music—children’s music informed by music education philosophy and pedagogy and children’s music informed by popular music. The chapter focuses on music for young children made by adults rather than music that children independently create for themselves. It also centres on television as a medium for engaging children with music. We begin with a social and cultural exploration of the main influencer of this genre, the Australian Broadcasting Corporation (ABC) children’s television program Play School. We position this icon of Australian children’s culture as a leader in the development of children’s music, specifically linked to an educational agenda. We then explore the ways children’s music and the music industry intersect with a focus on two other popular Australian children’s television programs: Bluey and the variety of television series produced by children entertainers The Wiggles. Finally, we turn to how these programs represent race and otherness through song and ask questions about how these children’s programs attempt to empower both Indigenous and non-Indigenous children to sing, think and embody positive understandings about race in Australia.

Country music is one of Australia’s oldest popular music forms, stretching from the 1920s (when it was known as hillbilly) to today. It also shows a remarkable continuity of tradition. Despite country music’s reputation as being politically conservative and white, in Australia country has often pursued a progressive agenda and has featured many Aboriginal and women artists. Songwriters have used country music’s robust musical forms to tell richly detailed and diverse stories about life in Australia, from rural labour, to urbanization, to sexual and racial double standards, to economic woes, to familial bonds, to the ravages of the climate. Despite this rich history, and the genre’s rootedness in place, there remain many anxieties surrounding country music to do with its perceived ‘Americanness’, itself symptomatic of larger anxieties around national identity. While hillbilly music originated in America, musically, lyrically and culturally it has developed in new and fascinating ways in Australia.

Between 1886 and 1889, the renowned mixed vocal ensemble, the Fisk Jubilee Singers, of Tennessee, USA, toured Australia and New Zealand. The Singers’ concerts featured polished arrangements of spirituals, a unique African American form of religious folk song. These performances sparked a conversation about the boundaries of race and the transformative potential of the spiritual for those who embraced the genre within the Australian context. Over the century that followed, often but not always with the support of white missionaries, Indigenous groups employed the songs in various ways: as anthems of emancipation; to stir sympathy among white audiences; as a means of securing space on Australian concert stages and over the air, and to call out the Australian government’s racist policies. Hence, the Fisk Singers’ tour of Australia set into play both performance practices and discourses about the power of Westernising non-European music that fit easily within Australian assimilationist social ideology. Yet tensions would noticeably arise around the mid twentieth century between those who championed spiritual singing as a pathway to assimilation and touring African American recitalists such as Paul Robeson who viewed the cultural value of the songs in starkly different terms.

This chapter discusses how historical exchanges with Makassan and other seafaring peoples from beyond the Arafura Sea remain a profound influence on Yolŋu music and culture that endures to this day. We explore how Yolŋu people, through their enduring ceremonial traditions, elaborately integrate song, dance and design elements to recount exchanges with Makassan seafarers, the boats in which they sailed, and the goods they carried. We also discuss how, since the mid-1980s, this autonomous history of Yolŋu exchanges with foreigners has been remembered and continues to inspire new forms of Yolŋu cultural expression that overtly reach out across cultures. Our approach is informed by our long history of researching Yolŋu song in all its forms and working together to document the Yolŋu public ceremonial song tradition known as manikay. Garawirrtja’s expertise is further grounded in his extensive training and practice as a Yolŋu elder and ceremonial singer of the manikay tradition, who maintains hereditary songs that recount Yolŋu contact histories with Makassan and other seafarers.

Art music in Australia has always reflected the dominant social and cultural values of its time. As with all forms of art, the context of music making significantly influences the evolution of musical practice, from concept and narrative through to techniques and performance. In the twenty-first century, the zeitgeist of ‘our time and place’ is dominated by two global issues: the climate crisis and social justice. Both issues are strongly influencing the evolution of art music in Australia, shaping new directions in creative practice, informing conceptual frameworks, and guiding curatorial and collaborative approaches to programming and mentorship. This chapter will focus on how these issues are influencing curatorial and creative practices in Australian art music today, using works, projects and programs from the 2010s and early 2020s as examples.

On the surface, Australian metal music can be read—quite fairly—as a white, working-class, hypermasculine phenomenon. With further excavation, however, the way metal music materializes in local Australian scenes around the country in various ways reveals its power in negotiating complex structures of identity and belonging. Australian metal music is paradoxical and complex, and fans ‘use’ metal in a variety of political ways. Quite specific to Australian metal music, too, are the ways in which it has long been constructed as a frontier space—a space sitting ‘on the edge’ both geographically and politically, wherein metal’s tendency for extremes—its celebration of brutality, and its perpetuation of hegemonic white masculinity—is only matched by its potential for counter-hegemonic politics, radical change, and boundary-pushing. The Australian frontier functions symbolically in our reading, both as a space dominated by the centralizing figure of the colonial white man, but also as a precarious space in which women’s resilience and Aboriginal and Torres Strait Islander people’s agency in pushing back against colonial normativity rise to destabilize the accepted narratives of invasion politics.

This article explores the importance of music to Australian Torres Strait Islanders, in their home islands and on the Australian mainland, for maintaining and sustaining connections with the historical traditions of the Torres Strait region in far northern Queensland. Beginning post-World War Two, there was a sizeable diaspora to the Australian mainland and also the gradual unravelling of race-based laws aimed at controlling the travels and personal lives of Islanders, and Aboriginal peoples. Because of the diaspora, there were some changes in Islander sociality and culture over time, place and situation, in particular regarding performance and performativity. However, aspects of Islander music practices remain similar to what had occurred traditionally, but with some modifications via adoptions, adaptations and innovations befitting new social, cultural and economic environments. This article concludes with discussion of how traditional practices have contributed to contemporary Islander music variously as culture, commerce and creativity.

The chapter illuminates diverse musical encounters or engagements between ‘minority’ cultures and what was, until recently, an Anglo-Australian majority over four periods of social, cultural and political foment between the pre-Federation colonial era and the present. It first examines the pre-WWI musical contributions of German-speaking residents and visitors, and Italian and Jewish influence on musical entertainment in the inter-war and post-war era. It then considers how, from the 1980s, the twin forces of local multiculturalism and ‘world music’ intersected in Australia to foster a wealth of musical diversity, including creative musical interventions and experimentations. We also consider the many multi-faceted present-day music ‘scenes’ associated with diasporic communities by honing into the local world of Indonesia-related music-making in Australia. Music of minority cultures tends to become articulated through uneven power relationships with the majority culture and its institutions, but the chapter provides a more nuanced view of this relationship. It demonstrates, for example, how ‘minority’ musicians have strategically deployed the ‘power’, or value, of ‘difference’ for professional or other advantage, exploiting opportunities provided by the mainstream, which can simultaneously shape and even redefine minority music.

Written from the perspective of two people currently involved in experimental and electronic music in Australia, this chapter provides an overview of some of the key movements and works in the genre, from the twentieth century to the present day. Focusing primarily on music that exploits technology and experimental approaches that progress innovation in art music contexts, it highlights some of the diverse practitioners – performers, composers, improvisers, sound artists, and instrument makers – who have pushed the boundaries of what is possible, often blurring the lines between art forms in the process. While it is unable to provide an exhaustive historical or contemporary account of the innovations that have been achieved here, or those responsible, the selected representative survey should serve to contextualise Australia’s contributions to electronic and experimental music, demonstrating our reputation for presenting ‘mavericks’ to the music world.

This chapter briefly surveys the Australian Electronic Dance Music (EDM) scene throughout the 1990s. It examines the impact of financial investments from major labels and how this provided a fertile ground for specialist EDM labels to create scenes that connected back to the techno, rave, and club communities. Brief histories of Sydney, Melbourne, Canberra, Brisbane, and Adelaide are provided, noting their different characteristics and prominent players in the field. Links between the post-punk electronic music scene and how they impacted the first wave of EDM creatives are also discussed. As one-half of Sydney techno band Itch-E & Scratch-E, the author (aka Paul Mac) provides a personal, practice-based, lived history of the period.

African musical practices in Australia are highly diverse and multifaceted. This chapter examines the work of a Senegalese Australian artist across contexts ranging from a new multimedia arts initiative, music festivals, community events and schools. Drawing on evidence from ethnographic research as well as performer and educator experiences, it shows that music provides an important space through which to explore the complexities of diasporic experience in Australia and to engage in self-representation countering dominant negative portrayals of Africans in Australian media and political discourse. Through music, African Australian artists negotiate ideas about cultural specificity and universality, maintaining connections to African cultural practices while forging new connections and forms of creativity in contemporary Australia.

This chapter examines the current state of jazz in Australia through the lens of notable practitioners—Andrea Keller, Simon Barker, Gian Slater, Kristin Berardi, Phil Slater and Jamie Oehlers. Presented as a panel discussion, the participants explore the term ‘jazz’ as it is perceived both by audiences and the practitioners themselves, discuss the challenges of presenting original music in a country as isolated as Australia, and question whether there is an audible Australian jazz ‘dialect’.

This Introduction provides an account of how Music in Australia has been conceptualised in previous music histories. It shows that music historians have sought to draw boundaries around what Australian music is by emphasizing the milestones of European settlement, and have often struggled to reconcile Indigenous music making and non-Indigenous music into one account of music in Australia. It explores also the history of cultural institutions in Australia that have built the foundations for music in Australia. Stepping back to look at these cultural institutions and the wide ranging music making in the past and present, the introduction summarises the book’s contents across the themes of Continuities, Encounters, Diversities and Institutions.