Thinking of music as a public good rather than as an industry can help us radically rethink how to approach music policy, how to support it. We would recognise the public value, the ‘communal luxury’ music provides to all of us.
Indigenous musician William Barton received the Don Banks Music Award, the most prestigious given by the Australia Council for the Arts. Barton learnt the didgeridoo the traditional way from his uncle in outback Queensland. He is a virtuosic and original performer as well as a guitarist, singer and composer.
"'The Dark Pattern' is by far the most consistently sublime and intensely beautiful music I’ve ever heard", wrote reviewer Joe Cummins of Slater's recording. Here, Slater reveals the highly original process that has been his musical life's work over the last five years.
A remarkable story of how one woman has each year brought together the children of a large, sparsely populated area of outback Australia with highly accomplished musicians from the city to develop and present a sophisticated performance of choral and instrumental music, taiko drumming and much more. This is entirely a community supported program.
It is sometimes claimed that it is “fair” to hold all students to the same age-based expectations. But fairness depends on recognising individual differences and meeting each student’s current learning needs.
High rankings lift status and incomes, attract more international students. But our universities must prioritise creating talent. The importance of first-rate teaching, as one of the most effective forms of knowledge transfer, is often overlooked but is our most worthy calling.