ANU Scholarly Output

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The Australian National University's Scholarly output collection is an online location for collecting, preserving and disseminating the scholarly output of the University. This service allows members of the University to share research with the wider community. ANU Open Research accepts journal articles, conference papers, book chapters, working or technical papers and other forms of scholarly communication.

While the aim is to have all our scholarly output available under an 'open access' model, some items may be unavailable due to publisher embargo periods or other copyright restrictions.

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Now showing 1 - 20 of 133460

Open Access
Unravelling the Black Wednesday Riots: Precarious Masculinity and Civil Unrest in Port Moresby
(Canberra, ACT: Dept. of Pacific Affairs, Coral Bell School of Asia Pacific Affairs, The Australian National University, 0003-07-24) Masta, Mercy
On 10 January 2024, residents of Port Moresby and other major centres in Papua New Guinea (PNG) witnessed civil disobedience, mostly carried out by men, expressed through looting, vandalism and arson targeting commercial property, in what is now referred to by locals as Black Wednesday. These events, starting with opportunists taking advantage of a police protest over a pay cut, sparked riots across the country. The government of PNG swiftly disseminated messages on social media refuting claims of a new tax levied on the police force, attributing the discrepancy in pay to a computer ‘glitch’. A 14-day state of emergency was declared, accompanied by the suspension of numerous senior government officials. The violence resulted in the loss of more than 20 lives, the displacement of hundreds of jobs, and adverse impacts on businesses and farmers. Although women participated in the riots, they were greatly outnumbered by men. This In Brief explores challenges to the manifestations of masculinity when urban men in particular encounter precarious situations such as those observed during the events of the Black Wednesday riots in Port Moresby.
Open Access
Fourth world economic development: the establishment of capitalism in three aboriginal communities in Cape York Peninsula, Queensland?
(Griffith University, 1/7/1994) Holden, Annette Mary
Aboriginal economic development in Australia is examined through case studies of three communities in Cape York Peninsula in Queensland. For the purposes of analysis, Cape York is treated as an Aboriginal domain and the communities are treated as individual colonies. The central question of the thesis is "Is capitalism being established as the dominant mode of production?" It is not presumed that capitalism is or will be established in the Aboriginal colonies and so the ways in which the capitalist and Aboriginal modes of production frustrate, reinforce and transform one another in the process of articulation are examined. Thus the following questions are asked, (1) "How exactly is the dominance of capitalism being established?", (2) "What footholds for this dominance are to be found in the old relations of production? ", and (3) "In what sense did the latter become transformed so as to fit in with the specific requirements of capitalist interests?". And their reverse: (4) "In what ways, if at all, is the Aboriginal mode of production remaining as the dominant mode?", (5) "In what ways, if at all, does capitalism lend itself to the maintenance of the dominance of the Aboriginal mode of production?" and, (6) "How is the capitalist mode of production itself modified as a result of colonisation?"
Open Access
Imarlkba, historical archaeology and a fossicking economy site in the top end of the Northern Territory
(University of New England, 10/1/1985) Gillespie, Danny Ambrose
Despite almost two decades of field research, historical archaeology in Australia continues to lack a unified theoretical purpose. Thepredominantly descriptive approach which has characterised much recent Australian work could be profitably replaced by an approach which is both archaeological and anthropological and which makes use of data from documentary and, where available, oral sources in addition to archaeological evidence. Such an approach will achieve maximum usefulness in historical sites which are artefacts of early Aboriginal/European interaction. In the present study documentary, oral and archaeological research in the form of surface collection and mapping are combined at Imarlkba, a site produced by a period of European/Aboriginal interaction characterised by the term'fossickingeconomy'. Explanations for site formation processes and their locations are proposed through models derived from all three data sources, concentrating on an apparent dual system of garbage disposal, preferential removal of material from the site by Europeans and Abori ginals and the distribution of artefacts such as wire twitches and coppiced trees. This brief study is dedicated to those participants in the fossicking economy, men and women, black and white, who contributed to Imarlkba's site formation processes.
Open Access
The management strategies of the aluminium companies with interests on Cape York Peninsula: 1955-1978
(University of Newcastle, New South Wales, 13/10/1978) Howitt, Richard.
This thesis attempted as full and fair an enquiry as possible into the management strategies of the aluminium companies with interests on Cape York Peninsula (CYP) between 1955, when the vast bauxite deposits on the west coast of CYP were ’discovered1 and 1976. The companies* management strategies cannot be explained without reference to their interrelationships with other aspects of the economic systems in which they operate. Consequently, a Marxist framework, which assumes the interdependence of all aspects of economic activity, was found the most satisfactory model. The conflict between the perceptions, priorities and goals of the CYP Aboriginal communities who have paid most of the social and psychic costs of development of CYP bauxite, and those of the transnational corporations who have reaped most of the benefits, offers an Australian example of the ’widening gap’ between the Rich and Faor of the world.
Open Access
With a whole heart : nurturing an ethic of caring for nature in the education of Australian planners
(13/9/1996) Sarkissian, Wendy
This interdisciplinary dissertation addresses one aspect of the education of Australian urban planners: an ethic of caring for Nature, conceived as a deeply grounded, contextual, ethic based on a sense of connection with the natural world. It articulates what an ethica of caring entails, explores the current state of and' potential for the teaching of environmental ethics within Australian planning schools, examines fiom an ethical standpoint the educational implications of direct connection with Nature, and proposes the foundations for a radical curriculum for planning education to nurture an ethic of caring for Nature. Three pivotal assumptions underpin this research: that Australian urban development is contributing to both local and global ecological crises; that the activities of urban planners help to determine the form and style of urban development and, by implication, the ecological impacts; and that the education of urban planners influences their practice. I argue that a complete revisioning of Australian urban planning education is necessary to counter the entrenched anthropocentrism and utilitarianism which underpin both planning practice and education.
Open Access
The Indian Penal Code (1860) (no actual section on cybercrime, but certain activities (such as making fake websites = deceptive property) are punishable under the code)
(Legislative.gov, 1860) Legislative.gov
Open Access
The Indian Telegraph Act (1885)
(Department of Telecommunications, 1885) Department of Telecommunications
Open Access
Joint response to the Deloitte Review of the implementation of the recommendations of the Royal Commission into Aboriginal Deaths in Custody
(Canberra, ACT : Centre for Aboriginal Economic Policy Research (CAEPR), The Australian National University, 19/12/2019) Jordan, Kirrily; Anthony, Thalia; Walsh, Tamara; Markham, Francis; Australian National University. Centre for Aboriginal Economic Policy Research
This statement outlines concerns with the 2018 Deloitte Access Economics review of the implementation of the recommendations of the Royal Commission into Aboriginal Deaths in Custody (RCIADIC). The statement is endorsed by 33 academic and professional experts in the policy areas examined by RCIADIC, including policy responses to Aboriginal deaths in custody. It suggests that the scope and methodology of the Deloitte review mean that it misrepresents governments’ responses to RCIADIC, and has the potential to misinform policy and practice responses to Aboriginal deaths in custody. It is also evidence of a more widespread problem in Indigenous Affairs policy-making in Australia. In particular, current approaches too often ignore the principles of self-determination and the realities of policy as experienced by Aboriginal and Torres Strait Islander peoples. The statement calls for the development of national independent monitoring of the implementation of the recommendations of RCIADIC, for the Federal Government to fully embrace and enact the intent of the RCIADIC recommendations, and for the Federal Government to provide a response to the Australian Law Reform Commission’s Inquiry on Indigenous Incarceration Rates (2017).
Embargo
Rara avis (2016)
(1905-07-08) Seccombe, Erica
5 Printed QR codes, 18 cm diameter, 5 Online movies, duration between 35sec, 2.38 min
Open Access
Penal Code (criminalises most cyber based crime) (1907) (English)
(Cabinet Secretariat, 1907) Cabinet Secretariat
Open Access
Alfred Hill : String Quartet No 2 'Maori' (1907) - III Scherzo. The Karakia (Incantation) & The Coming Of The Birds
(Canberra School of Music, Australian National University, 1907) Composer: Alfred Hill; Frost, Elizabeth Courtney
Alfred Hill was born in 1870 and died in 1960, living through the establishment of much of the contemporary musical infrastructure in Australia and New Zealand. He must have watched the first half of the twentieth century unfurl varieties of musical possibilities which, even if he understood them, were anathema to his own style which was already at least a quarter of a century old as the century changed. Hill was a prolific composer, writing in most musical forms, and finding a generally sympathetic audience in Australasia. He embraced larger forms, symphony and opera, as well as songs and a variety of chamber music. Of the seventeen string quartets he wrote, the eleventh (D minor, 1935) was his favourite. Audiences have demonstrated a preference for the second (G minor, 1907), a piece written whilst on holiday at Hampden in New Zealand's South Island. When published by Breitkopf and Hortel in 1913, number two carried the title 'Maori'. For Roger Covell (Australia's Music, 1967), the second quartet is 'none the worse for the fact that its tender, docile tunefulness makes us think less of the heroic legend attached to its 'Maori' subtitle than of Dvorak at his most pastorally engaging'. Covell compares Hill to the Australian poets Hugh McCrae and Henry Kendall, finding similarities in their clinging to the 'cool, wet greenness of the Australian coastal valleys [rather than] grappling with the immense, raw vistas of the inland'. The Queensland State String Quartet is led in this performance by Ernest Llewellyn, who later became the founding Director of the Canberra School of Music.
Open Access
Alfred Hill : String Quartet No 2 'Maori' (1907) - IV Finale: The Dedication And Launching Of The Canoe
(Canberra School of Music, Australian National University, 1907) Composer: Alfred Hill; Frost, Elizabeth Courtney
Alfred Hill was born in 1870 and died in 1960, living through the establishment of much of the contemporary musical infrastructure in Australia and New Zealand. He must have watched the first half of the twentieth century unfurl varieties of musical possibilities which, even if he understood them, were anathema to his own style which was already at least a quarter of a century old as the century changed. Hill was a prolific composer, writing in most musical forms, and finding a generally sympathetic audience in Australasia. He embraced larger forms, symphony and opera, as well as songs and a variety of chamber music. Of the seventeen string quartets he wrote, the eleventh (D minor, 1935) was his favourite. Audiences have demonstrated a preference for the second (G minor, 1907), a piece written whilst on holiday at Hampden in New Zealand's South Island. When published by Breitkopf and Hortel in 1913, number two carried the title 'Maori'. For Roger Covell (Australia's Music, 1967), the second quartet is 'none the worse for the fact that its tender, docile tunefulness makes us think less of the heroic legend attached to its 'Maori' subtitle than of Dvorak at his most pastorally engaging'. Covell compares Hill to the Australian poets Hugh McCrae and Henry Kendall, finding similarities in their clinging to the 'cool, wet greenness of the Australian coastal valleys [rather than] grappling with the immense, raw vistas of the inland'. The Queensland State String Quartet is led in this performance by Ernest Llewellyn, who later became the founding Director of the Canberra School of Music.
Open Access
Alfred Hill : String Quartet No 2 'Maori' (1907) - II The Dream
(Canberra School of Music, Australian National University, 1907) Composer: Alfred Hill; Frost, Elizabeth Courtney
Alfred Hill was born in 1870 and died in 1960, living through the establishment of much of the contemporary musical infrastructure in Australia and New Zealand. He must have watched the first half of the twentieth century unfurl varieties of musical possibilities which, even if he understood them, were anathema to his own style which was already at least a quarter of a century old as the century changed. Hill was a prolific composer, writing in most musical forms, and finding a generally sympathetic audience in Australasia. He embraced larger forms, symphony and opera, as well as songs and a variety of chamber music. Of the seventeen string quartets he wrote, the eleventh (D minor, 1935) was his favourite. Audiences have demonstrated a preference for the second (G minor, 1907), a piece written whilst on holiday at Hampden in New Zealand's South Island. When published by Breitkopf and Hortel in 1913, number two carried the title 'Maori'. For Roger Covell (Australia's Music, 1967), the second quartet is 'none the worse for the fact that its tender, docile tunefulness makes us think less of the heroic legend attached to its 'Maori' subtitle than of Dvorak at his most pastorally engaging'. Covell compares Hill to the Australian poets Hugh McCrae and Henry Kendall, finding similarities in their clinging to the 'cool, wet greenness of the Australian coastal valleys [rather than] grappling with the immense, raw vistas of the inland'. The Queensland State String Quartet is led in this performance by Ernest Llewellyn, who later became the founding Director of the Canberra School of Music.
Open Access
Alfred Hill : String Quartet No 2 'Maori' (1907) - I The Forest
(Canberra School of Music, Australian National University, 1907) Composer: Alfred Hill; Frost, Elizabeth Courtney
Alfred Hill was born in 1870 and died in 1960, living through the establishment of much of the contemporary musical infrastructure in Australia and New Zealand. He must have watched the first half of the twentieth century unfurl varieties of musical possibilities which, even if he understood them, were anathema to his own style which was already at least a quarter of a century old as the century changed. Hill was a prolific composer, writing in most musical forms, and finding a generally sympathetic audience in Australasia. He embraced larger forms, symphony and opera, as well as songs and a variety of chamber music. Of the seventeen string quartets he wrote, the eleventh (D minor, 1935) was his favourite. Audiences have demonstrated a preference for the second (G minor, 1907), a piece written whilst on holiday at Hampden in New Zealand's South Island. When published by Breitkopf and Hortel in 1913, number two carried the title 'Maori'. For Roger Covell (Australia's Music, 1967), the second quartet is 'none the worse for the fact that its tender, docile tunefulness makes us think less of the heroic legend attached to its 'Maori' subtitle than of Dvorak at his most pastorally engaging'. Covell compares Hill to the Australian poets Hugh McCrae and Henry Kendall, finding similarities in their clinging to the 'cool, wet greenness of the Australian coastal valleys [rather than] grappling with the immense, raw vistas of the inland'. The Queensland State String Quartet is led in this performance by Ernest Llewellyn, who later became the founding Director of the Canberra School of Music.
Open Access
Percy Grainger: Colonial Song (1911)
(1911) Composer: Percy Grainger; Grafton-Greene, Michael
Composed by Percy Grainger (1882-1961) in 1911, Colonial Song is one of his best known works, and exists in various versions, some incorporating voices. Carrying the annotation 'Composed as a yule-tide gift for mother, 1911', the score is marked 'Rich, Broad and Vibrating, with Ample Swells'. Perhaps not surprisingly, then, Colonial Song is written in a rather sentimental vein, and echoes Grainger's love of a certain species of folksong from the British Isles. The composer's treatment of the melody and harmony is quite closely akin to his settings of some folksongs from that part of the world. Grainger himself supplied the following note: No traditional tunes of any kind are made use of in this piece, in which I have wished to express feelings aroused by thoughts of the scenery and people of my native land, (Australia), and also to voice a certain kind of emotion that seems to me not untypical of native-born Colonials in general. Perhaps it is not unnatural that people living more or less lonelily [sic] in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramaticly [sic] exciting counter wills of their fellow men, as in more thickly populated lands, should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twain's 'Huckleberry Finn', and in Stephen C. Foster's Adorable Songs, 'My Old Kentucky Home', 'Old Folks at Home', etc. I have also noticed curious, almost Italian-like musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression), which are also reflected here.
Open Access
Roy Agnew: Dance Of The Wild Men (1918)
(Canberra School of Music, Australian National University, 1921) Composer: Roy Agnew; Sitsky, Larry; Webster, Belinda
"Dance of the Wild Men was composed in August, 1919. Like Deirdres Lament, it is dedicated to Benno Moiseiwitsch. Although published in 1921, Agnew later made some changes to the work. These amendments were given to me by Winifred Burston; they are not major changes, and mostly involve dynamics and the odd chromatic alteration. This sort of work is generally played as an encore at the end of a recital, with no holds barred, and without concern for small slips here or there, so that the composers indications such as bang, fierce, with utmost intensity and furiously can be realised and projected." -- Larry Sitsky"
Open Access
Edgar Bainton: Cello Sonata (1922) - III
(Canberra School of Music, Australian National University, 1922) Composer: Edgar Bainton; Frost, Elizabeth Courtney
Edgar Bainton, English by birth, became the Director of the NSW Conservatorium in 1934 following Dr Arundel Orchard. He brought with him an uncompromisingly English legacy, as it happened, in the year in which three of the masters of that tradition, Elgar, Delius and Holst, died. He also brought a sonata for cello and piano which he had written in England in 1922. Bainton's background was very much the ethos eschewed by Margaret Sutherland. He, however, was not uncomfortable with the tradition in which he worked, producing compositions of considerable charm in a style whose roots he acknowledged and celebrated. Amongst his most important accomplishments as the Director of the NSW Conservatorium was the support he gave to Australian composers. Many works by Roy Agnew, Miriam Hyde and Percy Grainger, for example, were played at Conservatorium concerts during his time there. He must also take the credit for many Australian first performances, perhaps not unexpectedly, of composers like Delius, Vaughan Williams and Sibelius. The cello part in this 1952 recording is played by John Kennedy, one of Australia's finest cellists, and Bainton himself is the associate artist. Bainton died quietly on Lady Martin's Beach, Sydney, on 8 December, 1956. Technical Notes The recordings on this compact disc were transferred from shellac 78s, recorded in Sydney and pressed in Australia for the Columbia label. The transfers were made on EMT turntables using a variety of different shaped styli to achieve the best possible sound from discs that had, over the years, sustained groove damage and other surface wear. The ideal stylus is one that contacts the least worn section of the groove wall, giving the best all round signal to noise ratio and fidelity. Surface noise is often a problem with shellac discs. They frequently exhibit a constant hiss. Ripples, slight warps and off centre pressing cause swishes and variations in the hiss level which become more noticeable as successive layers of distracting clicks and crackles are removed. Variation in surface noise between sides that have been edited togethermay be noticed by some astute listeners. Rather than take a minimalist approach to remastering, a moderate amount of digital processing has been used in an attempt to make a more enjoyable reissue that retains all the character of the original recordings. Clicks and crackles have been removed and the hiss reduced so that subtleties of performance probably not discernible to the listener who relies upon original discs and period play-back equipment are now apparent. Occasional creaks and other noises remain where it was the judgement of technical staff that these were extra-musical sounds from the original sessions, or where their removal might have resulted in the loss of aspects of the original performance. There is no mistaking that these are vintage recordings, requiring a degree of tolerance of the remaining surface noise. The vaj,ue and interest of the performances have riot been diminished by any of these processes, and it is likely that a listener to the transfers will hear more from this CD than any listeners in the 1940s and 1950s for whom the recordings were originally made.
Open Access
Edgar Bainton: Cello Sonata (1922) - IV
(Canberra School of Music, Australian National University, 1922) Composer: Edgar Bainton; Frost, Elizabeth Courtney
Edgar Bainton, English by birth, became the Director of the NSW Conservatorium in 1934 following Dr Arundel Orchard. He brought with him an uncompromisingly English legacy, as it happened, in the year in which three of the masters of that tradition, Elgar, Delius and Holst, died. He also brought a sonata for cello and piano which he had written in England in 1922. Bainton's background was very much the ethos eschewed by Margaret Sutherland. He, however, was not uncomfortable with the tradition in which he worked, producing compositions of considerable charm in a style whose roots he acknowledged and celebrated. Amongst his most important accomplishments as the Director of the NSW Conservatorium was the support he gave to Australian composers. Many works by Roy Agnew, Miriam Hyde and Percy Grainger, for example, were played at Conservatorium concerts during his time there. He must also take the credit for many Australian first performances, perhaps not unexpectedly, of composers like Delius, Vaughan Williams and Sibelius. The cello part in this 1952 recording is played by John Kennedy, one of Australia's finest cellists, and Bainton himself is the associate artist. Bainton died quietly on Lady Martin's Beach, Sydney, on 8 December, 1956. Technical Notes The recordings on this compact disc were transferred from shellac 78s, recorded in Sydney and pressed in Australia for the Columbia label. The transfers were made on EMT turntables using a variety of different shaped styli to achieve the best possible sound from discs that had, over the years, sustained groove damage and other surface wear. The ideal stylus is one that contacts the least worn section of the groove wall, giving the best all round signal to noise ratio and fidelity. Surface noise is often a problem with shellac discs. They frequently exhibit a constant hiss. Ripples, slight warps and off centre pressing cause swishes and variations in the hiss level which become more noticeable as successive layers of distracting clicks and crackles are removed. Variation in surface noise between sides that have been edited togethermay be noticed by some astute listeners. Rather than take a minimalist approach to remastering, a moderate amount of digital processing has been used in an attempt to make a more enjoyable reissue that retains all the character of the original recordings. Clicks and crackles have been removed and the hiss reduced so that subtleties of performance probably not discernible to the listener who relies upon original discs and period play-back equipment are now apparent. Occasional creaks and other noises remain where it was the judgement of technical staff that these were extra-musical sounds from the original sessions, or where their removal might have resulted in the loss of aspects of the original performance. There is no mistaking that these are vintage recordings, requiring a degree of tolerance of the remaining surface noise. The vaj,ue and interest of the performances have riot been diminished by any of these processes, and it is likely that a listener to the transfers will hear more from this CD than any listeners in the 1940s and 1950s for whom the recordings were originally made.
Open Access
Edgar Bainton: Cello Sonata (1922) - II
(Canberra School of Music, Australian National University, 1922) Composer: Edgar Bainton; Frost, Elizabeth Courtney
Edgar Bainton, English by birth, became the Director of the NSW Conservatorium in 1934 following Dr Arundel Orchard. He brought with him an uncompromisingly English legacy, as it happened, in the year in which three of the masters of that tradition, Elgar, Delius and Holst, died. He also brought a sonata for cello and piano which he had written in England in 1922. Bainton's background was very much the ethos eschewed by Margaret Sutherland. He, however, was not uncomfortable with the tradition in which he worked, producing compositions of considerable charm in a style whose roots he acknowledged and celebrated. Amongst his most important accomplishments as the Director of the NSW Conservatorium was the support he gave to Australian composers. Many works by Roy Agnew, Miriam Hyde and Percy Grainger, for example, were played at Conservatorium concerts during his time there. He must also take the credit for many Australian first performances, perhaps not unexpectedly, of composers like Delius, Vaughan Williams and Sibelius. The cello part in this 1952 recording is played by John Kennedy, one of Australia's finest cellists, and Bainton himself is the associate artist. Bainton died quietly on Lady Martin's Beach, Sydney, on 8 December, 1956. Technical Notes The recordings on this compact disc were transferred from shellac 78s, recorded in Sydney and pressed in Australia for the Columbia label. The transfers were made on EMT turntables using a variety of different shaped styli to achieve the best possible sound from discs that had, over the years, sustained groove damage and other surface wear. The ideal stylus is one that contacts the least worn section of the groove wall, giving the best all round signal to noise ratio and fidelity. Surface noise is often a problem with shellac discs. They frequently exhibit a constant hiss. Ripples, slight warps and off centre pressing cause swishes and variations in the hiss level which become more noticeable as successive layers of distracting clicks and crackles are removed. Variation in surface noise between sides that have been edited togethermay be noticed by some astute listeners. Rather than take a minimalist approach to remastering, a moderate amount of digital processing has been used in an attempt to make a more enjoyable reissue that retains all the character of the original recordings. Clicks and crackles have been removed and the hiss reduced so that subtleties of performance probably not discernible to the listener who relies upon original discs and period play-back equipment are now apparent. Occasional creaks and other noises remain where it was the judgement of technical staff that these were extra-musical sounds from the original sessions, or where their removal might have resulted in the loss of aspects of the original performance. There is no mistaking that these are vintage recordings, requiring a degree of tolerance of the remaining surface noise. The vaj,ue and interest of the performances have riot been diminished by any of these processes, and it is likely that a listener to the transfers will hear more from this CD than any listeners in the 1940s and 1950s for whom the recordings were originally made.
Open Access
Edgar Bainton: Cello Sonata (1922) - I
(Canberra School of Music, Australian National University, 1922) Composer: Edgar Bainton; Frost, Elizabeth Courtney
Edgar Bainton, English by birth, became the Director of the NSW Conservatorium in 1934 following Dr Arundel Orchard. He brought with him an uncompromisingly English legacy, as it happened, in the year in which three of the masters of that tradition, Elgar, Delius and Holst, died. He also brought a sonata for cello and piano which he had written in England in 1922. Bainton's background was very much the ethos eschewed by Margaret Sutherland. He, however, was not uncomfortable with the tradition in which he worked, producing compositions of considerable charm in a style whose roots he acknowledged and celebrated. Amongst his most important accomplishments as the Director of the NSW Conservatorium was the support he gave to Australian composers. Many works by Roy Agnew, Miriam Hyde and Percy Grainger, for example, were played at Conservatorium concerts during his time there. He must also take the credit for many Australian first performances, perhaps not unexpectedly, of composers like Delius, Vaughan Williams and Sibelius. The cello part in this 1952 recording is played by John Kennedy, one of Australia's finest cellists, and Bainton himself is the associate artist. Bainton died quietly on Lady Martin's Beach, Sydney, on 8 December, 1956. Technical Notes The recordings on this compact disc were transferred from shellac 78s, recorded in Sydney and pressed in Australia for the Columbia label. The transfers were made on EMT turntables using a variety of different shaped styli to achieve the best possible sound from discs that had, over the years, sustained groove damage and other surface wear. The ideal stylus is one that contacts the least worn section of the groove wall, giving the best all round signal to noise ratio and fidelity. Surface noise is often a problem with shellac discs. They frequently exhibit a constant hiss. Ripples, slight warps and off centre pressing cause swishes and variations in the hiss level which become more noticeable as successive layers of distracting clicks and crackles are removed. Variation in surface noise between sides that have been edited togethermay be noticed by some astute listeners. Rather than take a minimalist approach to remastering, a moderate amount of digital processing has been used in an attempt to make a more enjoyable reissue that retains all the character of the original recordings. Clicks and crackles have been removed and the hiss reduced so that subtleties of performance probably not discernible to the listener who relies upon original discs and period play-back equipment are now apparent. Occasional creaks and other noises remain where it was the judgement of technical staff that these were extra-musical sounds from the original sessions, or where their removal might have resulted in the loss of aspects of the original performance. There is no mistaking that these are vintage recordings, requiring a degree of tolerance of the remaining surface noise. The vaj,ue and interest of the performances have riot been diminished by any of these processes, and it is likely that a listener to the transfers will hear more from this CD than any listeners in the 1940s and 1950s for whom the recordings were originally made.

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