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• W2519868081 abstract "Tbis thesis examines circumstances under which pop music scene existed in Australia during 1960s. It is not concerned specifically with intepreting music of period itself. Instead more central issues are, on one hand, to chronicle developnent of pop scene (a term explained in introduction), and, secondly, to interpret context of involvement with pop music in Australia during this period. In attempt to realise these aims there is a broader if less explicit agenda. This is to question some of more conventional approaches ani assurrptions frequently invoked in study of culture in Australia, both in sense of culture as a ''way of life, and in context of culture as artistic and intellectual pursuits. The introductory chapter is concerned with explainirq how best to examine pop music scene in Australia, and includes a brief historiographical discussion of both general approaches to studying pop music and about development of cultural studies in Australia. The argument developed here is that questions about the text and effects of pop music cannot be properly addressed without first attempting to understand particular circumstances under which pop music is produced, both socially ani econanically. Chapter two is also introductory - but in a more chronological sense - focussing on emergence of rock' n' roll in Australia in period from 1955 to 1963. The three chapters that follow dicuss both economic and social conditions within pop music scene of mid-1960s developed. They begin with an analysis of context of involvement in pop music scene by members of post-war generation, not just as performers but also in a broad spectrum of areas within nascent music industry. This is followed in fifth and sixth chapters by a discussion of circumstances within which pop musicians careers developed. It is argued that beneath surface of an apparent pop boom in which many perfonrers found it possible to earn a living outside of conventional career paths that their parents may have hoped they would follow, success was frequently a precarious and transitory phenomenon. Explaining this involves discussinq impact of tourirq overseas acts on local acts, often inflexible attitudes of record ccanpanies and musicians' union, as well as attacks on pop scene made from police and respectable society, which were mostly directed at dance venues. Many of difficulties faced by pop performers intensified in late 1960s, when, amidst rhetoric of counterculture and emergence of idea of perfonner as artist, pop music more discernibly consolidated, and conflicting interests of ''musician and industry became nore apparent. The final chapter examines endeavours of Australian pop performers overseas, and aims to locate expectations and strategies of local pop performers within a broader trajectory encompassirq aspirations of a Australian artists and performers from a wide range of pursuits. Included here is a discussion about Battle of Sounds ccompetition, a contest whose major prize was a trip overseas for victorious pop group. Connexions are suggested between failure of Battle of Sounds winners, and many other Australan acts, to succeed overseas, and conditions in which their careers developed in Australia" @default.
• W2519868081 created "2016-09-23" @default.
• W2519868081 creator A5050070825 @default.
• W2519868081 date "2017-02-16" @default.
• W2519868081 modified "2023-09-22" @default.
• W2519868081 title "The pop music scene in Australia in the 1960s" @default.
• W2519868081 doi "https://doi.org/10.4225/03/58a52ebf59ef0" @default.
• W2519868081 hasPublicationYear "2017" @default.
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