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Signifiers of indigeneity in Australian and New Zealand popular music
16 references·2 citing·32 second hop
Signifiers of indigeneity in Australian and New Zealand popular music (2010)Signifiers of indigeneity in Australian a…Safe, Exotic and Somewhere Else (2015)Safe, Exotic and Somewhere El…Culture, Custom and Collaboration (2015)Culture, Custom and Collabora…Deadly sounds, deadly places: Contemporary aboriginal music in Australia (2004)Deadly sounds, deadly places:…Sounding Indigenous (2002)Sounding IndigenousNitmiluk: Place and Empowerment in Australian Aboriginal Popular Music (2000)Nitmiluk: Place and Empowerme…Music Grooves: Essays and Dialogues (2000)Music Grooves: Essays and Dia…A Sweet Lullaby for World Music (2000)A Sweet Lullaby for World Mus…Performing Rites: Evaluating Popular Music (1998)Performing Rites: Evaluating …The Didjeridu: From Arnhem Land to Internet (1997)The Didjeridu: From Arnhem La…Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania (1996)Popular Music and Local Ident…Performing Rites (1996)Performing RitesEthnicity, Identity and Music: The Musical Construction of Place (1995)Ethnicity, Identity and Music…Yothu Yindi's ‘Treaty’: ganma in music (1994)Yothu Yindi's ‘Treaty’: ganma…World Music and the Popular Music Industry: An Australian View (1993)World Music and the Popular M…Music and Discourse: Toward a Semiology of Music (1991)Music and Discourse: Toward a…Breakdance as an Identity Marker in New Zealand (1986)Breakdance as an Identity Mar…Work-integrated learning in university popular music programmes: localised approaches to vocational curricula in Melbourne, Australia and Wellington, Aotearoa/New Zealand (2020)Work-integrated learning in u…‘Wetin dey happen?’: Wazobia, popular arts, and nationhood (2015)‘Wetin dey happen?’: Wazobia,…The Predicament of Culture (1988)Mimesis and alterity: a particular history of the senses (1993)Modernity at Large: Cultural Dimensions of Globalization. (1998)The Visible Evidence of Cultural Producers (2000)Transidiomatic practices: Language and power in the age of globalization (2005)Soundscapes: Toward a Sounded Anthropology (2010)What's done and what's said: language attitudes, public language activities and everyday talk in the Northern Territory of Australia (2013)Phonotactics (2023)The Oxford Guide to Australian Languages (2023)“We Sing Our Home, We Dance Our Land”: Indigenous Self-Determination and Contemporary Geopolitics in Australian Popular Music (1998)Appropriating the Didjeridu and the Sweat Lodge: New Age Baddies and Indigenous Victims? (2002)The Art of Doing (Geographies of) Music (2007)The Theory of Participatory Discrepancies: A Progress Report (1995)The Aesthetics of the Global Imagination: Reflections on World Music in the 1990s (1996)Signs of Imagination, Identity, and Experience: A Peircian Semiotic Theory for Music (1999)From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500 (1996)Theorizing Musical Meaning (2001)Embodied Matters:Bolivian Fantasyand Indigenismo (2006)Rampant Reproduction and Digital Democracy: Shifting Landscapes of Music Production and ‘Piracy’ in Bolivia (2010)The Devil in Nationalism: Indigenous Heritage and the Challenges of Decolonization (2016)Music and the Politics of Sound: Nationalism, Citizenship, and Auditory Space (2000)Creativity and Cultural Production: A Study of Contemporary Western Popular Music Songwriting (2008)The role of music in ethnic identity formation in diaspora: a research review (2016)The Production of Culture Perspective (2004)In Search of Authenticity* (2005)Classification as Culture: Types and Trajectories of Music Genres (2008)After Adorno : rethinking music sociology (2003)Key themes in media theory (2007)Space-form and the acousmatic image (2007)'Roots'?: the relationship \nbetween the global and the local \nwithin the Extreme Metal scene (2000)Consolidating the music scenes perspective (2004)The post-subcultural turn: some reflections 10 years on (2011)
this work references cited by second hop

References

  • 1996Performing Rites1,123 cited
  • 1991Music and Discourse: Toward a Semiology of Music510 cited
  • 2000A Sweet Lullaby for World Music406 cited
  • 2000Music Grooves: Essays and Dialogues356 cited
  • 1998Performing Rites: Evaluating Popular Music287 cited
  • 1996Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania215 cited
  • 1995Ethnicity, Identity and Music: The Musical Construction of Place176 cited
  • 2004Deadly sounds, deadly places: Contemporary aboriginal music in Australia139 cited
  • 2002Sounding Indigenous112 cited
  • 1997The Didjeridu: From Arnhem Land to Internet61 cited
  • 1993World Music and the Popular Music Industry: An Australian View51 cited
  • 1994Yothu Yindi's ‘Treaty’: ganma in music34 cited
  • 2015Safe, Exotic and Somewhere Else29 cited
  • 2000Nitmiluk: Place and Empowerment in Australian Aboriginal Popular Music27 cited
  • 2015Culture, Custom and Collaboration26 cited
  • 1986Breakdance as an Identity Marker in New Zealand20 cited

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Cited by

  • 2015‘Wetin dey happen?’: Wazobia, popular arts, and nationhood24 cited
  • 2020Work-integrated learning in university popular music programmes: localised approaches to vocational curricula in Melbourne, Australia and Wellington, Aotearoa/New Zealand4 cited