Liz Giuffre
Liz is a Senior Lecturer in Communications. She holds a PhD in Media, Music and Cultural Studies and MA (Research) in Contemporary Music (both from Macquarie), and a BA (Media and Coms/English) Hons from UNSW. Her research and teaching experience includes engagement with music and media crossings, screen sound (particularly music and television), artist and audience engagement (including versioning and various professional and amateur participatory cultures), and Australian cultural history focused on popular music and (post) broadcast media. In addition to this she works regularly in the national independent arts press as a journalist and commentator, is a regular contributing editor for Metro Magazine, and is currently serving as the publication officer for IASPM Australia/New Zealand.
Address: Lecturer in Communications
Faculty of Arts and Social Science,
15 Broadway
Ultimo NSW 2007
Address: Lecturer in Communications
Faculty of Arts and Social Science,
15 Broadway
Ultimo NSW 2007
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Papers by Liz Giuffre
three Australian performers, Peter Allen, Todd McKenney
and Hugh Jackman, in their respective recorded
performances of “I Still Call Australia Home”. The first relates
to the original version written and performed by Allen in
1980, the second is performed by McKenney in 1998 for the
original Australian production of The Boy From Oz, and the
third is performed by Jackman in 2003 as part of the cast of
the Broadway production of The Boy From Oz.
Comprehensive analysis utilizing phonemic transcriptions
and elements of vocality (individual, representational and
assumed) identifies that each case study expresses
characterisation (or aspects of it) in different ways. This has
implications for musical theatre performers and pedagogy.
the world, tend to focus on performances by young men and the development of rock ’n’ roll.
This article seeks to add to these histories by drawing attention to the women who participated
in these music television programmes during the formative years of the genre in Australia.
Unfortunately there is very little remaining footage of the actual programmes left, so the
“rediscovery” offered here is based on the written archives and photographs that remain from
the production files of the 1950s television programme Six O’Clock Rock. However, even remaining
publicity photos for the programme can reveal how much women were involved with the
show as performers and presenters, and the inclusion of a wider variety of musical styles and
collaborations than historical accounts have suggested. The visual styling of these women and
their promotion in women’s magazines suggests they were used to bring a more domestic audience
to the programme, indicating an important place for women in the early audience for rock
’n’ roll in Australia. The presence of these women in 1950s and 60s Australian television suggests
that this was a time that was more diverse than contemporary audiences and producers may
otherwise remember
This article explores the development of this unique part of the acoustic ecology of the Montreal metro system, comparing the STM’s publicity material about the development of the signal with key musical and cultural studies frameworks relating to power and affect. The focus is on the ‘dou-dou-dou’ as a method of sonic management within the metro environment, exploring the flows of power between commuters and officials within the space. In addition to being a pragmatic ‘audio signal’ to direct commuter traffic, we propose that the ‘dou-dou-dou’, with its specific composition and instrumentation, can be understood as more than just a musical marker of place in the broader historical and cultural audio environment of the metro.
theoretical reach beyond its traditional fare of narrative driven, fiction series. This article offers 1970s and ‘80s Australian music television program Countdown as a prime example of Cult TV, first in the context of its initial production and consumption in 1970s and ‘80s Australia, and also in terms of its subsequent influence on contemporary audiences from a historical perspective. The Cult TV frame extends to the program itself in its original incarnation, as well as additional recontextualisations in new music television programs, and the continued work of its former host, Ian ‘Molly’ Meldrum. ""
Books by Liz Giuffre
three Australian performers, Peter Allen, Todd McKenney
and Hugh Jackman, in their respective recorded
performances of “I Still Call Australia Home”. The first relates
to the original version written and performed by Allen in
1980, the second is performed by McKenney in 1998 for the
original Australian production of The Boy From Oz, and the
third is performed by Jackman in 2003 as part of the cast of
the Broadway production of The Boy From Oz.
Comprehensive analysis utilizing phonemic transcriptions
and elements of vocality (individual, representational and
assumed) identifies that each case study expresses
characterisation (or aspects of it) in different ways. This has
implications for musical theatre performers and pedagogy.
the world, tend to focus on performances by young men and the development of rock ’n’ roll.
This article seeks to add to these histories by drawing attention to the women who participated
in these music television programmes during the formative years of the genre in Australia.
Unfortunately there is very little remaining footage of the actual programmes left, so the
“rediscovery” offered here is based on the written archives and photographs that remain from
the production files of the 1950s television programme Six O’Clock Rock. However, even remaining
publicity photos for the programme can reveal how much women were involved with the
show as performers and presenters, and the inclusion of a wider variety of musical styles and
collaborations than historical accounts have suggested. The visual styling of these women and
their promotion in women’s magazines suggests they were used to bring a more domestic audience
to the programme, indicating an important place for women in the early audience for rock
’n’ roll in Australia. The presence of these women in 1950s and 60s Australian television suggests
that this was a time that was more diverse than contemporary audiences and producers may
otherwise remember
This article explores the development of this unique part of the acoustic ecology of the Montreal metro system, comparing the STM’s publicity material about the development of the signal with key musical and cultural studies frameworks relating to power and affect. The focus is on the ‘dou-dou-dou’ as a method of sonic management within the metro environment, exploring the flows of power between commuters and officials within the space. In addition to being a pragmatic ‘audio signal’ to direct commuter traffic, we propose that the ‘dou-dou-dou’, with its specific composition and instrumentation, can be understood as more than just a musical marker of place in the broader historical and cultural audio environment of the metro.
theoretical reach beyond its traditional fare of narrative driven, fiction series. This article offers 1970s and ‘80s Australian music television program Countdown as a prime example of Cult TV, first in the context of its initial production and consumption in 1970s and ‘80s Australia, and also in terms of its subsequent influence on contemporary audiences from a historical perspective. The Cult TV frame extends to the program itself in its original incarnation, as well as additional recontextualisations in new music television programs, and the continued work of its former host, Ian ‘Molly’ Meldrum. ""
References
Chion, Michael (1994) ‘Audio Vision: Sound on Screen. Columbia University Press
Lannin, Steve and Caley, Matthew (2005) ‘Pop Fiction’. Intellect.
Sonnenschein, David (2001) ‘Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema’. Michael Wiese Productions.
Moylan, William (2002) ‘The Art of Recording: Understanding and Crafting the mix’. Focal Press.