https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:15026 Wed 11 Apr 2018 15:33:13 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:14999 Wed 11 Apr 2018 14:15:18 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:11714 Wed 11 Apr 2018 10:33:02 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:14904 Wed 11 Apr 2018 10:26:59 AEST ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:21248 The Great Transformation of Musical Taste, William Weber identifies the use of miscellany as an inclusive organizing principle for eighteenth-century European concert programmes. He goes on to discuss the shift that took place in the nineteenth century to more homogeneous and exclusive programmes. This paper investigates the ways in which the miscellany principle might be observed in community concert programmes in a colonial city. This study focuses on Newcastle, NSW, during a period of rapid immigration - the 1870s. Through archival research, community concert programmes, newspaper reports and reviews from 1870 to 1879 are analyzed from the perspective of programme structure, repertoire, performers and function. In particular, there is a focus on the use of Weber's miscellany concept and its potential for building community through inclusivity. This was important for a transplanted community whose origins were a class-structured society that linked taste in music to social standing. This paper will show how, by using the older framework of miscellany and its inherent potential for compromise, collegiality and collaboration, the community could promote itself as thriving, respectable and democratic.]]> Sat 24 Mar 2018 07:54:33 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:22194 Sat 24 Mar 2018 07:16:25 AEDT ]]>