Gavin Carfoot

Queensland University of Technology, Faculty of Creative Industries, Faculty Member

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For the most up to date publications please visit https://eprints.qut.edu.au/view/person/Carfoot,_Gavin.html

Dr Gavin Carfoot is a Senior Lecturer in Music at the Queensland University of Technology. Prior to this he was a Lecturer in Popular Music at the Queensland Conservatorium Griffith University (2003-2013). He has worked extensively in popular music curriculum and assessment at the undergraduate and postgraduate levels. His collaborative work in popular music education and community service learning won a Griffith Award for Excellence in Teaching in 2012, and he has recent publications in the Oxford Handbook in Artistic Citizenship, Routledge Research Companion to Popular Music Education, Arts-Based Service Learning with First Peoples (Springer), Popular Music and Popular Communication. As a songwriter and producer, Gavin’s musical career has taken him from performing with touring swing bands to working with pop artists from television shows such as Australian Idol and X Factor.

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Papers by Gavin Carfoot

Parallel, series, and integrated: Models of tertiary popular music education

A wide range of tertiary institutions offer popular music curricula, from those with well-establi... more A wide range of tertiary institutions offer popular music curricula, from those with well-established Western art music traditions, through to those specifically focused on popular music education. Various scholarly studies of learning and teaching have documented and developed new approaches to pedagogy, curriculum and assessment, such as those by Green (2001), Lebler (2007, 2013) and Smith (2013). However, due to the fact that most of these studies are based in singular programmes or departments, few have been able to provide broad, multi-institutional analysis and critique of popular music education practices, perhaps with the exception of the UK-based report by Cloonan & Hulstedt (2012). Different institutional contexts may include a range of factors that impact upon learning experiences and outcomes for students, such as: the overall vision and objectives of the institution and programme; departmental history and context; whether the programme includes popular music education a...

Guitar Making and Intercultural Communication in Japan and Australia

Music in the Making of Modern Japan

‘It Was COVID-19’: Keir Nuttall on life as a songwriter in the pandemic

Perfect Beat

Arts-Based Service Learning with Indigenous Communities

Artistic Citizenship, 2016

Musical discovery, colonialism, and the possibilities of intercultural communication through music

Popular Communication, 2016

Discourses of discovery have been important in a wide range of musical contexts, from early moder... more Discourses of discovery have been important in a wide range of musical contexts, from early modern ideas about musical composition through to current forms of popular music production and consumption. Across these various contexts there are often inherent connections between discovery and colonialism; connections that become most apparent in non-Western socio-cultural and musical settings. In this paper, I situate discourses of discovery within the "coloniality of power," noting how colonial discovery can be more critically described as invention. From here, I turn to the genre of World Music as an example of how musical discovery is underpinned by inherently colonial perspectives, articulations of power, and relationships of dominance and subordination between Western and non-Western cultures. In contrast, I present the concept of interculturalism as a way of thinking about the possibilities of cultural in-between-ness beyond discovery, drawing on the practices of musicians who articulate intercorporeal and intercultural communication through performance.

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Enhancing intercultural engagement through service learning and music making with Indigenous communities in Australia

by Brydie-Leigh Bartleet and Gavin Carfoot

Research Studies in Music Education, 2016

This article explores the potential for music making activities such as jamming, song writing, an... more This article explores the potential for music making activities such as jamming, song writing, and performance to act as a medium for intercultural connection and relationship building during service learning programs with Indigenous communities in Australia. To set the context, the paper begins with an overview of current international perspectives on service learning and then moves towards a theoretical and practical discussion of how these processes, politics, and learning outcomes arise when intercultural engagement is used in service learning programs. The paper then extends this discussion to consider the ways in which shared music making can bring a sense of intercultural " proximity " that has the potential to evoke deep learning experiences for all involved in the service learning activity. These learning experiences arise from three different " facings " in the process of making music together: facing others together; facing each other; facing ourselves. In order to flesh out how these theoretical ideas work in practice, the article draws on insights and data from Queensland Conservatorium Griffith University's award winning Winanjjikari Service Learning Program, which has been running in partnership with Barkly Regional Arts and Winanjjikari Music Centre in Tennant Creek since 2009. This program involves annual service learning trips where university music students travel to Central Australia to work alongside Aboriginal and non-Indigenous musicians and artists on a range of community-led projects. By looking at the ways in which shared music making brings participants in this program " face to face " , we explore how this proximity leads to powerful learning experiences that foster mutual appreciation, relationship building, and intercultural reconciliation.

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‘Enough is Enough’: songs and messages about alcohol in remote Central Australia

Popular Music, 2016

Exploring University-Community Partnerships in Arts-Based Service Learning with Australian First Peoples and Arts Organizations

by Gavin Carfoot and Alan Murn

Landscapes: the Arts, Aesthetics, and Education, 2016

Reconciliation and transformation through mutual learning: Reflections from an arts based Indigenous service learning program

by Brydie-Leigh Bartleet, Naomi Sunderland, and Gavin Carfoot

Competition Hertz: The culture and practice of car audio competitions

Continuum, 2008

... Car audio culture as scene Car audio culture encompasses a highly diverse set of cultural pra... more

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Acoustic, Electric and Virtual Noise: The Cultural Identity of the Guitar

Creative Industries Faculty School of Media Entertainment Creative Arts, Dec 1, 2006

Guitar technology underwent significant changes in the 20th century in the move from acoustic to ... more Guitar technology underwent significant changes in the 20th century in the move from acoustic to electric instruments. In the first part of the 21st century, the guitar continues to develop through its interaction with digital technologies. Such changes in guitar technology are usually grounded in what we might call the “cultural identity” of the instrument: that is, the various ways that the guitar is used to enact, influence and challenge sociocultural and musical discourses. Often, these different uses of the guitar can be seen to reflect a conflict between the changing concepts of “noise” and “musical sound.”

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Deleuze and music : a creative approach to the study of music

Creative Industries Faculty School of Media Entertainment Creative Arts, 2003

The work of Gilles Deleuze has influenced an increasing number of music scholars and practicing m... more The work of Gilles Deleuze has influenced an increasing number of music scholars and practicing musicians, particularly those interested in experimental, electronic and popular music. This is despite the notoriously complex nature of his writings, and the specialised theoretical vocabulary that he employs. This thesis both demystifies some of the key terms and concepts of this vocabulary, before demonstrating how Deleuze's ideas may be put to work in new and fruitful ways; this is achieved with specific reference to the relationships that music has with thought, time and machines. In Chapter 1, Deleuze's understanding of the power of thought is examined, in particular his approach to communication, transcendence and immanence, and the "powers of thought." Each of these concepts helps us to understand Deleuze's work within broad problem of how to think about music immanently: that is, how to maintain that thought and music are both immanent aspects of life and experience. Chapter 2 examines time within a Deleuzian framework, linking his work on cinema with the concept of the "refrain"; both of these areas prove crucial to his understanding of music, as seen in Deleuze's approach to the work of Yarese, Messiaen, and Boulez. In addition, Deleuze's understanding of time proves fruitful in examining various aspects of music production, as seen in contemporary electronic dance music. Finally, Chapter 3 looks at the concept of the machine, as developed by Deleuze and Guattari, with reference to the sorts of "machinic" connections that a Deleuzian approach encourages us to seek out in music. Once again, examples from contemporary electronic music are presented, in relation to the notions of becoming and subjectivity. Throughout these chapters, Deleuze's broad understanding of philosophy as the "creation of concepts" is deployed. This means introducing new ideas an4 specific types of music that encourage creative and novel engagements with the study of music. iii Abstract iv

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Settling the Pop Score : Pop Texts and Identity Politics [Book Review]

Creative Industries Faculty School of Media Entertainment Creative Arts, 2002