Music of Australia

26/07/2020 Music of Australia - Wikipedia
Music of Australia
The music of Australia has an extensive history made of music societies. Indigenous Australian
music is a part of the unique heritage of a 40,000 to 60,000-year history which produced the iconic
didgeridoo. Contemporary fusions of indigenous and Western styles (exemplified in the works of No
Fixed Address, Yothu Yindi, Christine Anu and Geoffrey Gurrumul Yunupingu) mark distinctly
Australian contributions to world music. During its early western history, Australia was a collection of
British colonies, and Australian folk music and bush ballads such as "Waltzing Matilda" were heavily
influenced by Anglo-Celtic traditions, while classical forms were derived from those of Europe.
Contemporary Australian music ranges across a broad spectrum with trends often concurrent with
those of the US, the UK, and similar nations – notably in the Australian rock and Australian country
music genres. Tastes have diversified along with post-World War II multicultural immigration to
Australia.
Contents
Indigenous music
Folk music
Folk revival
Popular music
Early pop music
Country music
Children's music
R&B and soul music
Reggae
Rock and pop
First wave of Australian rock
Second wave of Australian rock
Third wave of Australian rock
1980s
Grunge
1990s: Indie rock
Electronic and dance music
Electronic
Hardcore
Metal
Punk rock/pop punk
Alternative rock
Hip-hop
Grime
Art music
Classical music
Jazz
Funding
https://en.wikipedia.org/wiki/Music_of_Australia 1/29
Organisations
See also
References
Further reading
Books and articles
Online
Indigenous music
Indigenous Australian music refers to the music of Aborigines
and Torres Strait Islanders. Music forms an integral part of the
social, cultural and ceremonial observances of these peoples, and
has been so for over 60,000 years.[1] Traditional indigenous
music is best characterised by the didgeridoo, the best-known
instrument, which is considered by some to be the world's
oldest.[2] Archaeological studies of rock art in the Northern
Territory suggest people of the Kakadu region were playing the
instrument 15,000 years ago.[3]
President George W. Bush enjoys a
Contemporary indigenous Australian music has covered
performance of Aboriginal song and
dance during a 2007 visit to the
numerous styles, including rock and roll, country,[4] hip hop, and
Australian National Maritime
reggae. Jimmy Little is regarded as the first Aboriginal performer
Museum in Sydney with traditional to achieve mainstream success, with his debut 1964 song "The
instrument, the didgeridoo. Royal Telephone" highly popular and successful.[5] In 2005, Little
was presented with an honorary doctorate in music by the
University of Sydney.[6] Despite the popularity of some of his
work, Little failed to launch indigenous music in the country—from the 1970s onwards, groups such
as Coloured Stone, Warumpi Band, and No Fixed Address would help improve the image of the
genre.[5] It would be Yothu Yindi that would bring indigenous music to the mainstream, with their
1991 song "Treaty", from the album Tribal Voice, becoming a hit.[7] would go on to reach No. 11 on the
ARIA Singles Chart.[8] The band's performances were based on the traditional Yolngu dance, and
embodied a sharing of culture.[5] The success of Yothu Yindi—winners of eight ARIA Awards[9]—was
followed in by Kev Carmody, Tiddas, Christine Anu, and numerous other indigenous Australian
musicians.[5]
Indigenous Australian music is unique, as it dates back more than 60,000 years to the prehistory of
Australia and continues the ancient songlines through contemporary artists as diverse as: David
Dahwurr Hudson, Jimmy Little, Warumpi Band, Yothu Yindi, Tiddas, Wild Water, Christine Anu,
Geoffrey Gurrumul Yunupingu, Saltwater Band, Nabarlek, Nokturnl, the Pigram Brothers, Coloured
Stone, Blekbala Mujik, Kev Carmody, Archie Roach and Ruby Hunter.
Folk music
For much of its history, Australia's bush music belonged to an oral and folkloric tradition, and was
only later published in print in volumes such as Banjo Paterson's Old Bush Songs, in the 1890s. The
distinctive themes and origins of Australia's "bush music" or "bush band music" can be traced to the
songs sung by the convicts who were sent to Australia during the early period of the British
colonisation, beginning in 1788. Early Australian ballads sing of the harsh ways of life of the epoch
and of such people and events as bushrangers, swagmen, drovers, stockmen and shearers. Convict
and bushranger verses often railed against government tyranny. Classic bush songs on such themes
include: "The Wild Colonial Boy", "Click Go the Shears", "The Drover's Dream", "The Queensland
Drover", "The Dying Stockman" and "Moreton Bay".[10]
Later themes which endure to the present include the experiences

of war, of droughts and flooding rains, of Aboriginality and of the
railways and trucking routes which link Australia's vast distances.
Isolation and loneliness of life in the Australian bush have been
another theme. "Waltzing Matilda", often regarded as Australia's
unofficial national anthem, is a quintessential Australian folk
song, influenced by Celtic folk ballads. Country and folk artists
such as Tex Morton, Slim Dusty, Rolf Harris, The Bushwackers, Horace Watson recording the songs
John Williamson, and John Schumann of the band Redgum have of Fanny Cochrane Smith,
continued to record and popularise the old bush ballads of considered to be the last fluent
Australia through the 20th and into the 21st century – and speaker of a Tasmanian language,
contemporary artists including Sara Storer and Lee Kernaghan 1903. Folk-singer Bruce Watson,
draw heavily on this heritage. descendant of Watson, composed a
song about this picture and later
Australia has a unique tradition of folk music, with origins in both performed it with singer Ronnie
the indigenous music traditions of the original Australian Summers, a descendant of Smith.
inhabitants, as well as the introduced folk music (including sea
shanties) of 18th and 19th century Europe. Celtic, English,
German and Scandinavian folk traditions predominated in this first wave of
European immigrant music. The Australian tradition is, in this sense,
related to the traditions of other countries with similar ethnic, historical
and political origins, such as New Zealand, Canada, and the United States.
The Australian indigenous tradition brought to this mix of novel elements,
including new instruments, some of which are now internationally familiar,
such as the didgeridoo of Northern Australia. A number of British singers
have spent periods in Australia and have included Australian material in
their repertoires, e.g. A. L. Lloyd, Martin Wyndham-Read and Eric Bogle.
Folk revival
Notable Australian exponents of the folk revival movement included both Cover to Banjo
European immigrants such as Eric Bogle, noted for his sad lament to the Paterson's seminal 1905
battle of Gallipoli "And the Band Played Waltzing Matilda", and indigenous collection of bush
Australians like Archie Roach and Paul Kelly. Kelly's lyrics capture the ballads, entitled The Old
vastness of the culture and landscape of Australia by chronicling life about Bush Songs
him for over 30 years. David Fricke from Rolling Stone calls Kelly "one of
the finest songwriters I have ever heard, Australian or otherwise."
In the 1970s, Australian Folk Rock brought both familiar and less
familiar traditional songs, as well as new compositions, to live
venues and the airwaves. Notable artists include The
Bushwackers Band and Redgum. Redgum are known for their
1983 anti-war protest song "I Was Only Nineteen", which peaked
at No. 1 on the National singles charts. The 1990s brought
Australian indigenous folk rock to the world, led by bands
including Yothu Yindi. Australia's long and continuous folk
tradition continues strongly to this day, with elements of folk Eric Bogle
music still present in many contemporary artists including those
generally thought of as Rock, Heavy Metal and Alternative Music.
Popular music
Early pop music
Australian composers who published popular musical works (e.g.

Ragtime, light ephemera) in the early twentieth century include Vince
Courtney, Herbert De Pinna, Jack Lumsdaine, Joe Slater, Reginald
Stoneham and Herbert Cosgrove, among others. Demand for local works
declined with recording and broadcast.
Country music
Australia has a long tradition of

country music, which has
developed a style quite distinct
from its US counterpart. The
early roots of Australian country
are related to traditional folk Joe Slater
music traditions of Ireland,
Country singer Melinda Schneider with England, Scotland and many
folk-rocker Paul Kelly diverse nations. "Botany Bay" from
the late 19th century is one example.
"Waltzing Matilda", often regarded
by foreigners as Australia's unofficial national anthem, is a quintessential
Australian country song, influenced more by Celtic folk ballads than by
American Country and Western music. This strain of Australian country
music, with lyrics focusing on strictly Australian subjects, is generally known
as "bush music" or "bush band music." The most successful Australian bush
band is Melbourne's The Bushwackers, active since the early 1970s, other
well-known country singers include Reg Lindsay, bush balladeer singer
Buddy Williams, and entertainers Johnny Ashcroft and Chad Morgan.
Kasey Chambers
Another, more Americanized form of Australian country music was
pioneered in the 1930s by such recording artists as Tex Morton, and later
popularized by Slim Dusty, best remembered for his 1957 song "A Pub With No Beer", and Smoky
Dawson. Dusty married singer-songwriter Joy McKean in 1951 and went on to become Australia's
biggest selling domestic music artist with more than 7 million record sales.[11] British-born country
singer and yodeller, Frank Ifield, was one of the first Australian post-war performers to gain
widespread international recognition. After returning to the UK in 1959 Ifield was successful in the
early 1960s, becoming the first performer to have three consecutive number-one hits on the UK
charts: "I Remember You", "Lovesick Blues" (both 1962) and "The Wayward Wind" (1963).[12] "I
Remember You" was also a Top 5 hit in the US.[13]
Australian country artists including Olivia Newton-John, Sherrie Austin, and Keith Urban have
achieved considerable success in the USA. In recent years local contemporary country music,
featuring much crossover with popular music, had popularity in Australia; notable musicians of this
genre include David Hudson, John Williamson, Gina Jeffreys, Lee Kernaghan, Troy Cassar-Daley,
Sara Storer, Felicity Urquhart and Kasey Chambers. Others influenced by the genre include Nick
Cave, Paul Kelly, The John Butler Trio, Jagged Stone and The Waifs. Popular Australian country
songs include Click Go the Shears (Traditional), Lights on the Hill (1973), I Honestly Love You (1974),
True Blue (1981), and Not Pretty Enough (2002).
Children's music
Children's music in Australia developed gradually over the latter

half of the 20th century. The most recognised performers in that
period were those associated with the long-running Australian
Broadcasting Corporation series Play School, including veteran
actor-musician Don Spencer and actor and singer Noni
Hazlehurst. Children's music remained a relatively small segment
of the Australian music industry until the emergence of
groundbreaking children's group The Wiggles in the late 1990s.
The multi-award-winning four-piece group rapidly gained
international popularity in the early 2000s and by the end of the
decade they had become one of the most popular children's The Wiggles' lineup in 2007, riding
groups in the world. The Wiggles now boasts a huge fanbase in in the Big Red Car during a concert
many regions including Australasia, Britain, Asia, and the
Americas.
In 2008 The Wiggles were named Business Review Weekly's top-earning Australian entertainers for
the fourth year in a row having earned A$45 million in 2007.[14] They have been called "the world's
biggest preschool band" and "your child's first rock band".[15] The group has achieved worldwide
success with their children's albums, videos, television series, and concert appearances. They have
earned seventeen gold, twelve platinum, three double-platinum, and ten multi-platinum awards for
sales of over 17 million DVDs and four million CDs.[16]
By 2002, The Wiggles had become the Australian Broadcasting Corporation's (ABC) most successful
pre-school television program. They have performed for over 1.5 million children in the US between
2005 and 2008.[17] They have won APRA song writing awards for Best Children's Song three times
and earned ADSDA's award for Highest Selling Children's Album four times.[16] They have been
nominated for ARIA's Best Children's Album award nineteen times, and won the award twelve
times.[18] In 2003, they received ARIA's Outstanding Achievement Award for their success in the
U.S.[16]
R&B and soul music
R&B soul music had a significant impact on Australian's music,

although it is notable that many seminal recordings in this genre by
American acts of the late 20th century were not played on Australian
radio. Anecdotal evidence suggest that racism was a key factor—in
his book on the history of Australian radio, author and broadcaster
Wayne Mac recounts that when a local Melbourne DJ of the 1960s
played the new Ike and Tina Turner single "River Deep Mountain
High" it was immediately pulled from the playlist by the station's Guy Sebastian and Jimmy
program manager for being "too noisy and too black".[19] As a result, Barnes 6 March 2008 State
many local soul/R&B hits of this period were cover versions Theatre
recorded by Australian acts. Despite radio's relucatance to play
American soul/R&B originals, these styles were avidly adopted by
local performers and covers of soul/R&B standards were staples in the setlists of many acts including
Max Merritt and the Meteors, Doug Parkinson, Jeff St John, The Groop, The Groove, The Twilights,
Renee Geyer and many others.
Renée Geyer is an Australian singer who came to prominence in the mid-1970s, has long been
regarded as one of the finest exponents of jazz, soul and R&B idioms.[20][21] She had commercial
success as a solo artist in Australia, with "It's a Man's Man's World "Rock historian, Ian McFarlane
described her as having a "rich, soulful, passionate and husky vocal delivery".[20] Geyer's iconic status
in the Australian music industry was recognised when she was inducted into the ARIA Hall of Fame
on 14 July 2005.
Parallel with Geyer's success, American born vocalist Marcia Hines emerged as one of Australia's
most successful solo singers. She first came to prominence in the early 1970s with critically acclaimed
roles in the local stage productions of Hair and Jesus Christ Superstar (in which she was the first
African-American to play the role of Mary Magdalene) before launching a solo career. By the late
1970s she was one of Australia's top singing stars, winning several Queen of Pop awards and hosting
her own national TV variety series.
Following their initial dissolution in 1982 Cold Chisel lead vocalist Jimmy Barnes embarked on a
successful solo career that has continued from the 1980s to the present. Many of Barnes' albums have
featured versions of songs from these genres and his chart-topping album Soul Deep (1991) consisted
entirely of covers of classic 1960s soul/R&B covers. Australian soul singer/songwriters like Daniel
Merriweather, has after several successful collaborations with artists such as Mark Ronson, released
his official debut album, Love & War, in June 2009. It entered the UK Albums Chart at number two.
After launching his career as the winner of an early series of Australian Idol, soul singer/songwriter
Guy Sebastian has also made an impact on this genre in Australia winning awards at the Urban Music
Awards Australia and New Zealand for Best Male Artist and Best R&B Album. Sebastian's recent
release "Like it Like That", was the highest selling Australian artist single in 2009 and charted at No. 1
for two consecutive weeks[22][23]
In 2004, Australian Idol finalist Paulini's debut single "Angel Eyes" and album One Determined
Heart both reached number one on the ARIA charts and were certified platinum.[24] Paulini earned
ARIA No. 1 Chart Awards for both the single and album.[25] Her second album Superwoman included
the singles "Rough Day" and "So Over You", and earned Paulini two nominations at the 2007 Urban
Music Awards for 'Best R&B Album' and 'Best Female Artist'.[26]
2006 Australian Idol runner-up Jessica Mauboy made her musical solo debut in 2008 with the single
"Running Back", which featured American rapper Flo Rida, and peaked at number three on the ARIA
Singles Chart, eventually being certified double platinum.[27] Her debut album Been Waiting earned
her seven nominations at the 2009 ARIA Music Awards, winning the award of 'Highest Selling Single'
for "Running Back".[28] Mauboy has continued to enjoy success with singles such as "Burn",
"Saturday Night" featuring Ludacris and "Inescapable". R&B and pop singer Cody Simpson has
achieved international acclaim and has been compared to the likes of Justin Bieber and Miley Cyrus.
Simpson's music has charted all over the world.
Soul singer Gabriella Cilmi possessing a voice and singing style similar to Amy Winehouse has
managed to achieve a degree of international success since 2007 with singles like "Sweet About Me".
Other singers in the R&B/soul genre include Jade MacRae, Israel Cruz, Stan Walker and Ricki-Lee
Coulter, who experimented with R&B for her first two albums, Ricki-Lee (2005) and Brand New Day
(2007). Lowrider is one of Australia's few indie pop soul bands, forming in 2003. Lowrider released
their self-titled debut album Lowrider (Illusive Sounds) in 2006 and Diamond Amongst the Thieves
(Illusive Sounds) in 2008. In July 2010 Lowrider released Round the World and was nominated for
an Australian Music Industry ARIA Music Awards for Best Urban Album. One of the more recent
additions to contribute to the R&B and soul sound is Melbourne based Cam Noble who has played a
major part in production for the now more modernised genre.
Reggae
Reggae had success on the radio charts in Australia in the early 1980s when Toots and the Maytals,
the first artist to use the term "reggae" in song, went to number one with their song "Beautiful
Woman".[29][30] Early reggae groups from Australia included JJ Roberts, No Fixed Address, The
Igniters, Larry Maluma and Untabu featuring Ron Jemmott.[31]
Rock and pop

Australia has produced a wide variety of rock and popular music, from the internationally successful
groups AC/DC, INXS, Nick Cave, Savage Garden, the Seekers, or pop divas Delta Goodrem, Kylie
Minogue to the popular local content of John Farnham, Jimmy Barnes or Paul Kelly. Indigenous
Australian music and Australian jazz have also had crossover influence on this genre.[32] Early
Australian rock and roll stars included Col Joye and Johnny O'Keefe. O'Keefe formed a band in 1956;
his hit Wild One made him the first Australian rock'n'roller to reach the national charts.[33] While US
and British content dominated airwaves and record sales into the 1960s, local successes began to
emerge – notably The Easybeats and the folk-pop group The Seekers had significant local success and
some international recognition, while AC/DC had their first hits in Australia before going on to
international success.
Pub rock was popular in the 1980s, and the era was typified by AC/DC, Divinyls, Mental As Anything,
Midnight Oil, The Choirboys, The Angels, Noiseworks, Air Supply, Cold Chisel and Icehouse. INXS
and Men at Work also achieved fame worldwide, and the song "Down Under" became an unofficial
anthem for Australia. Australian hip hop began in the early 1980s, primarily influenced by overseas
works, but by the 1990s a distinctive local style had emerged, with groups such as the Hilltop Hoods
achieving international acclaim for their work. The 1990s saw an increase in the popularity of indie
rock in Australia. AC/DC and INXS continued to achieve commercial success in the United States,
whilst a multitude of local bands, including Jebediah, Magic Dirt, Diana Anaid (#1 on the Australian
Indie Charts and #26 on the USA Billboard Chart), Spiderbait, The Superjesus, Regurgitator, You Am
I, Icecream Hands, Powderfinger, Silverchair and Something for Kate, were popular throughout the
country. A small electronic music scene emerged around Sydney and Melbourne, with Severed Heads,
and Ollie Olsen's No peaking in the 1990s.
Australian music experienced a rock renaissance in the 2000s with groups such as The Vines, Jet,
Airbourne and Wolfmother charting internationally. Hilltop Hoods were the first Australian hip-hop
group to reach the top of the ARIA chart. Channel 10's Australian Idol program was highly popular
locally, as were the many "idols" produced.
First wave of Australian rock
In the mid-1950s, American rock and roll spread across the

world. Sydney's independent record label Festival Records was
the first to get on the bandwagon in Australia, releasing Bill Haley
& His Comets' "Rock Around the Clock" in 1956. It became the
biggest-selling Australian single ever released up to that time.
American-born entrepreneur Lee Gordon, who arrived in
Australia in 1953, played a key role in establishing the popularity
of rock & roll with his famous "Big Show" tours, which brought to
Australia many leading American rock'n'roll acts including Bill The Delltones with four radio
Haley & His Comets, Little Richard, Bo Diddley, Eddie Cochran, awards
Gene Vincent, Buddy Holly & The Crickets and Jerry Lee Lewis.
Gordon was also instrumental in launching the career of Johnny
O'Keefe, the first Australian rock star, who rose to fame by imitating Americans like Elvis Presley and
Little Richard. O'Keefe and other "first wave" bands were popular until about 1961, when a wave of
clean-cut family bands took their place.
Though mainstream audiences in the early sixties preferred a clean-cut style – epitomised by the acts
that appeared on the Nine Network pop show Bandstand – there were a number of 'grungier' guitar-
oriented bands in major cities like Sydney and Melbourne, who were inspired by American and
British instrumental and surf acts like Britain's The Shadows – who exerted an enormous influence on
Australian and New Zealand music prior to the emergence of The Beatles – and American acts like
guitar legend Dick Dale and The Surfaris. Notable Australian instrumental groups of this period
included The Atlantics, The Denvermen, The Thunderbirds, The Planets, The Dee Jays, The Joy Boys,
The Fabulous Blue Jays and The Whispers.
Jazz was another important influence on the first wave of

Australian rock. Unlike the musicians in bands such as The
Comets, or Elvis Presley's backing band, who had rockabilly or
country music backgrounds, many musicians in Australian
rock'n'roll bands – such as Johnny O'Keefe's famous backing
group The Dee Jays – had a solid background in jazz.
Second wave of Australian rock
The "second wave" of Australian rock is said to have begun in

about 1964, and followed directly on the impact of The Beatles. In
the immediate wake of The Beatles' momentous Australian tour,
many local groups that had formerly played guitar-based
"Friday on My Mind", by The
instrumental music recruited singers and took up the new 'beat'
Easybeats
style. Some of the best-known and most popular acts in this
period were Billy Thorpe and the Aztecs and Ray Brown & The
Whispers, The Easybeats, The Masters Apprentices, The
Twilights, The Groop, The Groove, The Loved Ones and cult acts like The Throb and solo star Normie
Rowe, who quickly became Australia's most popular male pop vocalist. During this period a wave of
acts also came from New Zealand, including Ray Columbus & the Invaders, Max Merritt & The
Meteors, Dinah Lee, Larry's Rebels and The La De Das.
Many Australian bands and singers tried to enhance their careers by moving overseas, in particular to
England, then seen as the mecca of popular music but few bands were successful and of those who
relocated to the UK only The Seekers enjoyed any lasting success. Others that made the journey were
The Easybeats (the first rock band to crack the UK market), The Twilights, The Groove, Lloyds World
and the La De Das.
Third wave of Australian rock
The "third wave" of Australian rock began around 1970, by which

time most of the major local pop groups of the 1960s had
dissolved and former solo stars like Normie Rowe had faded from
view. Few acts from this era attained major international success,
and it was even difficult to achieve success across Australia, due
to low radio airplay and the increasing dominance of overseas
performers on the charts. A pivotal event was the 1970 radio ban,
which lasted from May to October that year. The Ban was the
climax of a simmering "pay for play" dispute between major
record companies and commercial radio stations, who refused to
pay a proposed new copyright fee for playing pop records on air.
The dispute erupted into open conflict in May 1970—many
commercial stations boycotted records by the labels involved and
refused to list their releases on their Top 40 charts, while the
record companies in turn refused to supply radio with free
AC/DC performing at the Ulster Hall
promotional copies of new releases.
in August 1979
An unexpected side-effect of the ban was that several emerging
Australian acts signed to independent labels (who were not part
of the dispute) scored hits with covers of overseas hits; these included The Mixtures' cover of Mungo
Jerry's "In the Summertime"[34] and Liv Maessen's cover of Mary Hopkin's Eurovision song "Knock,
Knock Who's There?".
Despite commercial radio resistance to the more progressive music being produced by bands like
Spectrum and Tully, acts as diverse as AC/DC, Sherbet and John Paul Young were able to achieve
major success and develop a unique sound for Australian rock. From 1975, key agents for the
increased exposure of local music were the nationally broadcast ABC-TV television pop show
Countdown, which premiered in late 1974, and Australia's first non-commercial all-rock radio station
Double Jay, which opened in January 1975. Hard rock bands AC/DC and Rose Tattoo and harmony
rock group Little River Band also found major overseas success in the late 1970s and early 1980s,
touring all over the world. Meanwhile, a score of Australian expatriate solo performers like Helen
Reddy, Olivia Newton-John and Peter Allen became major stars in the US and internationally.
Icehouse also formed in the late 1970s.
This period also saw bands like Skyhooks moving towards new wave music, and the late 1970s saw the
emergence of pioneering punk rock bands like The Saints and Radio Birdman, as well as electronic
musical groups, such as Cybotron, Severed Heads, Whirlywirld and Essendon Airport. Perhaps most
influential of the 'underground' scenes, however, was the burgeoning Australian pub rock circuit,
which developed in the early 1970s and played a key role in the emergence of major bands of the late
1970s and early 1980s, including Cold Chisel and The Angels, and in Sydney Midnight Oil and Matt
Finish. From the post-punk music scene which had sprung up in Melbourne came The Boys Next
Door featuring guitarist Rowland S. Howard and Nick Cave. The Boys Next Door would eventually
become The Birthday Party.
The Australian Music Industry as a business began to formalise during the late 1960s and the 1970s.
Although not taken seriously by the mainstream business community in those early years, none could
discount the pioneering spirit and business acumen of the likes of Michael Gudinski, Michael Chugg,
Ray Evans, Glenn Wheatley, Harry M. Miller, Harley Medcalf, Michael Browning, Peter Rix, Ron
Tudor, Roger Davies, Fred Bestall, Lance Reynolds, Alan Hely, Frank Stivala, Sebastian Chase, Philip
Jacobsen, Peter Karpin, Roger Savage, John Sayers, Ernie Rose, Bill Armstrong (Australian music
producer), Kevin Jacobsen, Phil Dwyer, Ken Brodziak, Denis Handlin, Stan Rofe, Jade Johnson, Terry
Blamey and Ian 'Molly' Meldrum. These were the people largely responsible for promoting and
developing the Australian music 'business' during those formative years.
Clubs and venues catering for the demand of live band entertainment flourished in capital cities all
over the country, however, the central development of the Australian Music Industry during these
years was in Sydney and Melbourne. Clubs such as Chequers, the Bondi Lifesaver and the Coogee Bay
Hotel in Sydney, and the Thumpin Tum, Catcher, Berties, Sebastian's, the Hard Rock Cafe and the Q
Club in Melbourne were synonymous with the biggest names in Australian rock & roll. In 1970 the
first ever outdoor music festival, modelled on Woodstock, was held at Ourimbah near Sydney, and
several other followed over the next two years, but most were a financial failure. In 1972 the first
festival that proved successful enough to be repeated was the 1972 'Festival' which attracted some
35,000 music fans from across the country to Sunbury, Melbourne.
'Pop' magazines such as Go-Set (which began in 1966), the Daily Planet, RAM, and Juke, and
television programs such as Countdown, Uptight, Sounds Unlimited and Happening 70 promoted
Australian popular music to a youth market who had never before experienced such media exposure
of their idols and stars. 'Pop Stars' were now being created by direct marketing to a targeted teenage
audience. Recording studios such as 301, Alberts' and Trafalgar in Sydney and Armstrong Studios and
TCS in Melbourne became legendary. Independent label Mushroom Records was founded in 1973 and
although it struggled to survive for its first two years of existence, it was saved in early 1975 by the
nationawide commercial breakthrough of Skyhooks, whose debut LP became the biggest-selling
Australian rock album ever released up to that time; this success enabled Mushroom to become a
significant player in the Australian music industry and compete with established companies like EMI,
CBS and Festival.
The bands and solo artists who shaped Australian Music during these seminal years included:
50 Lions
The Choirboys Icehouse

INXS Midnight Oil
Noiseworks Doug Parkinson
Skyhooks Jon English
AC/DC Blackfeather
Renée Geyer Ronnie Burns
Spectrum The Ferrets
Chain Mike Brady
Daddy Cool Martin Gellatley
Marcia Hines Hush
Zoot Tully
The Masters Apprentices Madder Lake
Dragon Supernaut
Air Supply Russell Morris
The Radiators Allison Durbin
The Angels Olivia Newton-John
Axiom Ross D. Wyllie
Kevin Borich Express The News
Captain Matchbox Whoopee Band Max Merritt and the Meteors
Carson Debra Byrne
Cheetah Rose Tattoo
Richard Clapton The Reels
Cold Chisel The Saints
John Farnham Sebastian Hardie
Healing Force Lash
Lobby Loyde and the Coloured Balls William Shakespeare
Hawking Bros Samantha Sang
Flake Sherbet
Buffalo Silver Studs
Bjerre John St Peters
Wendy Saddington Jeff St John
The Seekers Stylus
Ronnie Charles Jim Keays
Company Caine Tamam Shud
Trevor Spry Ted Mulry Gang
Radio Birdman Billy Thorpe and the Aztecs
Buster Brown Ol' 55
Little River Band Mark Holden
Ray Burgess Lyndon Hart
Mental As Anything Stevie Wright
Marty Rhone John Paul Young
Ariel Helen Reddy
The La De Das Redgum
Peter Allen Hot City Bump Band
The Dingoes Jo Jo Zep & The Falcons
Babeez Colleen Hewett
Mondo Rock Linda George
Ayers Rock Brian Cadd
1980s
The 1980s saw a breakthrough in the independence of Australian rock—

Nick Cave said that before the 1980s, "Australia still needed America or
England to tell them what was good".[35] Shaddap You Face, by Joe Dolce,
became, and still remains, the most successful Australian produced
original-song of all time. An example of Australians breaking free from
convention came in TISM. Formed in 1982, the band is known for its
anonymous members, outrageous stage antics, and humorous lyrics. In
the words of the band, "There's only one factor left that makes us work.
And that factor, I think, we've burned away, with the crucible of time, into
something that's actually genuine."[36]
Men at Work, Divinyls, and Hoodoo Gurus, all formed between 1979 and
Nick Cave performing in 1981, would go on to be hugely successful worldwide. Men at Work's
1986 "Down Under" hit number one in Australia, Europe, the UK, Canada, and
the United States, and was considered the theme song of Australia's
successful showing at the 1983 America's Cup.[37] Hoodoo Gurus,
meanwhile, hit it big on the US college circuit—all of their 1980s albums topped the chart.[38] At the
same time, a number of Australian bands relocated to the U.K. and particularly London to further
their artistic and commercial endeavours, among whom were The Moodists, The Go-Betweens, The
Birthday Party, Laughing Clowns, Foetus, SPK, The Triffids, and Tiny Town.[39]
In the 1980s, numerous innovative Australian rock bands arose. These included Hunters & Collectors,
The Church, TISM, Divinyls, Hoodoo Gurus, Mondo Rock, the Sunnyboys, Men at Work, The Go-
Betweens, The Triffids, Lime Spiders, Big Pig, The Celibate Rifles, the Cosmic Psychos and the Hard-
Ons. During this period a number of Australian bands began to reflect their urban environment in
songs dealing with day-to-day experiences of inner-city life e.g. Paul Kelly & the Coloured Girls
perhaps best exemplified in his songs "From St Kilda to Kings Cross" and "Leaps & Bounds", John
Kennedy's Love Gone Wrong in songs such us "King Street" and The Mexican Spitfires in tracks like
"Sydney Town" and "Town Hall Steps." This decade also saw the rise of world music groups like Dead
Can Dance; of special importance is Yothu Yindi, who helped found the field of indigenous rock. Then
soap star Kylie Minogue began her music career in the late 1980s and released "The Loco-Motion"
which became the biggest selling single in Australia for the decade and quickly catapulted her to
worldwide stardom. The first annual ARIA Music Awards were held in 1987. John Farnham and
Crowded House were the most successful artists at the event.
Grunge
Grunge is a subgenre of alternative rock and a subculture that emerged during the mid-1980s in
Australia and in the Pacific Northwest U.S. state of Washington. The early grunge movement in the
US revolved around Seattle's independent record label Sub Pop and that region's underground music
scene. By the early 1990s its popularity had spread, with grunge bands appearing in California, then
emerging in other parts of the United States and in Australia, building strong followings and signing
major record deals. Mark Arm, the vocalist for the Seattle band Green River—and later Mudhoney—
stated that the term had been used in Australia in the mid-1980s to describe bands such as King
Snake Roost, The Scientists, Salamander Jim, and Beasts of Bourbon.[40] Arm used grunge as a
descriptive term rather than a genre term, but it eventually came to describe the punk/metal hybrid
sound of the Seattle music scene.[41] C
Several Australian bands, including The Scientists, Cosmic

Psychos and Feedtime, are cited as precursors to grunge, their
music influencing the Seattle scene through the college radio
broadcasts of Sub Pop founder Jonathan Poneman and members
of Mudhoney.[42][43] Chris Dubrow from The Guardian states
that in the late 1980s, Australia's "sticky-floored...alternative pub
scene" in seedy inner-city areas produced grunge bands with "raw
and awkward energy" such as The Scientists, X, Beasts of
Bourbon, feedtime, Cosmic Psychos and Lubricated Goat.[44]
Cosmic Psychos, one of several
Dubrow said "Cobain...admitted the Australian wave was a big
Australian bands which influenced
influence" on his music.[44] Everett True states that "[t]here's and interacted with the Seattle
more of an argument to be had for grunge beginning in Australia grunge scene
with the Scientists and their scrawny punk ilk."[10]
1990s: Indie rock
The 1990s saw continued overseas success from groups such as

AC/DC,[45] INXS,[46] Men at Work, Midnight Oil, The Bad
Seeds,[47] and a new indie rock scene started to develop locally.
Sydney-based Ratcat were the first new band to achieve a
mainstream following,[48] while bands such as the Hoodoo Gurus
got off to a slower start; their debut album Stoneage Romeos
earned a small following but failed to captivate a mainstream that
at the time "didn't get it".[49] Later reviews would describe the Psychobilly group The Living End
band as "integral to the story of Aussie indie music", influencing were successful internationally in
bands including Frenzal Rhomb and Jet. [50] The band would go the 1990s
on to become an ARIA Hall of Fame inductee. [51] The Church,
meanwhile, was highly successful in the 1980s, only to see their
careers diminish in the next decade; 1994's Sometime Anywhere saw the band recede from a
mainstream audience.[52]
Alternative rock began to gain popularity midway through the 1990s, with grunge and Britpop styles
especially popular, resulting in a new wave of Australian bands. Some, such as Savage Garden, The
Living End and Silverchair, also gained quick success in the United States,[53] while You Am I,
Jebediah, Magic Dirt, Something for Kate, Icecream Hands and Powderfinger gained more success
locally.[54] Bands such as Regurgitator and Spiderbait were hit heavily by the post-grunge backlash,
losing in sales and critical acclaim.[53][55]
Much of the success of rock in Australia is attributed to the non-commercial Australian Broadcasting
Corporation's radio station Triple J, which focuses heavily on Australian alternative music, and has
done so since its formation as 2JJ in 1975.[56] Throughout the station's history, they have helped jump
start the careers of numerous bands, through programs such as Unearthed, the Australian Music
program Home & Hosed and the Hottest 100.[57]
The Big Day Out festival has showcased Australian and international acts, with line-ups spanning
multiple genres, with an alternative focus. It has become highly popular amongst musicians; Foo
Fighters lead singer Dave Grohl said "We play the Big Day Out because it's the best tour in the world.
You ask any band in the world – they all want to play the Big Day Out, every single one of them."[58]
Other festivals, such as Homebake, Livid, and Splendour in the Grass, are also rock focused, and
together with Big Day Out are "united by the dominant presence of the indie-guitar scene".[59]
Australia made its first appearance in the Eurovision Song Contest 2015 after being granted a spot in
the final by the EBU.
Electronic and dance music
Electronic music in Australia

emerged in the 1990s, but
takes elements from funk,
house, techno, trance, and
numerous other genres.[61]
Early innovators of the genre
in Australia include
Whirlywirld and Severed
Heads, who formed in 1979
Australian electronic music duo The
and were the first electronic
Presets
group to play the Big Day
Out.[62] The band achieved
long-term success, winning
an ARIA Award in 2005 for "Best Original Soundtrack" for The
Illustrated Family Doctor, where lead singer Tom Ellard said the
band would never fit into mainstream music.[63] FSOM (Future
Sound of Melbourne) members including Davide Carbone, Josh
Abrahams, and Steve Robbins, were in Australian electronic
music groups. They released tracks on Candyline Records. Frank
De Wulf's, Two Thumbs Records and Carl Cox's Ultimatum. Pendulum bassist Gareth McGrillen.
FSOM also played at several Big Day Out festivals and supported The band mixes numerous genres,
artists including Björk, Tricky, and The Prodigy. Future Sound of including electronic.[60]
Melbourne won the ARIA Award for "Best Dance Release" for
their Chapter One album in 1996. The Avalanches released their
debut album Since I Left You.
The genre has developed a following, to the point the University of Adelaide offers an Electronic
Music Unit, teaching studio production and music technology.[64] The School of Synthesis was also
set up in Melbourne by renowned artists including Davide Carbone to specifically cater to Australian
Electronic producers. Traditional rock bands such as Regurgitator have developed an original sound
by combining heavy guitars and electronic influences,[65] and rock-electro groups, most notably
Rogue Traders, have become popular with mainstream audiences.[66][67] The genre is most popular in
Melbourne, with multiple music festivals held in the city.[68] However, Cyclic Defrost, the only
specialist electronic music magazine in Australia, was started in Sydney (in 1998) and is still based
there.[69][70] Radio still lags somewhat behind the success of the genre—producer and artist manager
Andrew Penhallow told Australian Music Online that "the local music media have often overlooked
the fact that this genre has been flying the flag for Australian music overseas".[71] Over the past fifteen
years, bands and producers such as Ollie Olsen, Angelspit, Cut Copy, The Presets, Miami Horror, Bag
Raiders, The Potbelleez, Art vs. Science, Empire of the Sun, Sneaky Sound System, Little Nobody,
Faydee and Pnau have made a name for themselves in the genre. The success of The Presets at the
ARIA Music Awards of 2008 and the Potbelleez in the mainstream media was indicative of the rapidly
growing popularity of electro house, progressive house and hardstyle in Australia.
Cut Copy frontman Dan Whitford has attributed the band's success to a change in public attitude as
much as the band's quality, explaining "It's a case partly of timing and a growing awareness of
electronic music in Australia".[72] Pnau's first album, Sambanova, was released in 1999, at a time
when many in Australia considered electronic music to be a dying breed. Nonetheless, the band
travelled around the US and Europe, and slowly made a name for themselves, and for a rebirth of
electronic music in the country.[73][74] Individual DJs are also pioneering the electronic music scene
globally. Dirty South (DJ) was ranked 59 in the 2009 DJ Mag Top 100 DJ poll. In recent years
electronic festivals such as Stereosonic have overtaken other genres of music festivals to have the
largest attendance in Australia.
Several festivals started developing over time, these festivals include: Defqon 1, IQON,[75] Masters of
Hardcore, Utopia,[76] Doof, Rainbow Serpent Festival and Stereosonic. This also includes Teknivals
which are generally held outside big cities and are not widely publicized.
Electronic
Alison Wonderland Sam Sparro
Art vs. Science ShockOne
Bag Raiders Ollie Olsen
Code Black Peking Duk
Cut Copy Pendulum
Dirty South Pnau
Empire of the Sun Rogue Traders
Flight Facilities Sneaky Sound System
Flume Stafford Brothers
Hayden James The Aston Shuffle
Hook n Sling The Avalanches
Infusion The Presets
Joel Fletcher Timmy Trumpet
Kid Kenobi Tommy Trash
Knife Party TyDi
MaRLo TV Rock
Miami Horror Will Sparks
Midnight Juggernauts Paul Gorrie AKA the straight guy at all the
queer parties
Hardcore
In recent years, Australia has become known for hardcore punk bands such as:
50 Lions Hellions
A Breach of Silence Forgiven Rival
Alpha Wolf House vs. Hurricane
Against Hand of Mercy
Behind Crimson Eyes I Killed the Prom Queen
Break Even Iron Mind
BLKLST Imprisoned
Buried in Verona Ill Natured
Capture the Crown King Parrot
Carpathian In Hearts Wake
Confession Krakatoa
Cursed Earth Mary Jane Kelly
Deez Nuts Massappeal
Diamond Construct Miles Away
Dream On, Dreamer Mindsnare
Eleventh He Reaches London Mortification
Extortion Nicolas Cage Fighter
Hands Like Houses Ocean Grove
Parkway Drive The Brave

Polaris The Red Shore
Rupture Toe to Toe
Starve Ultimatum
Totally Unicorn Void of Vision
Trophy Eyes Where's the Pope?
The Amity Affliction Windwaker
Metal
Further to this, the Australian Metal scene has gained prominence in the past number of years with
bands such as:
Abominator Ilium
AC/DC Lord
Airbourne Make Them Suffer
Alarum Mortal Sin
Alchemist Mortification
Armoured Angel Myridian
Astriaal Nazxul
BB Steal Ne Obliviscaris
Be'lakor Northlane
Black Majesty October Rage
Blood Duster Our Last Enemy
Chaos Divine Orpheus Omega
Claim the Throne Paindivision
Damaged Parkway Drive
Darker Half Pegazus
Daysend Portal
Disentomb Psycroptic
Dreadnaught Roxus
Deströyer 666 Sadistik Exekution
Devolved Segression
Dungeon Southern Sons
Electric Mary Striborg
Empires of Eden Superheist
Eye of the Enemy Sydonia
Frankenbok Synthetic Breed
Feed Her to the Sharks The Amenta
For All Eternity The Berzerker
Gospel of the Horns The Eternal
Grave Forsaken The Mark of Cain
Heaven The Red Shore
Heaven the Axe Thy Art Is Murder
Hobbs' Angel of Death Tria Mera
King Parrot Twelve Foot Ninja
Koritni Universum
Vanishing Point Voyager

Virgin Black Wish for Wings
Punk rock/pop punk
Australia has built a strong and ongoing cult following of punk bands such as:
5 Seconds of Summer The Celibate Rifles

28 Days The Leftovers
Bodyjar The Living End
Bored! The Rumjacks
Closure in Moscow The Saints
Cosmic Psychos The Screaming Tribesmen
Dune Rats The Survivors
DZ Deathrays The Victims
Exploding White Mice The Visitors
Exserts The Zorros
Frenzal Rhomb Toe to Toe
Goons of Doom Tonight Alive
Guttersnipes Vampire Lovers
Hard-Ons Yidcore
JAB The Veronicas
Lime Spiders With Confidence
New Race
Alternative rock
Australia has created many alternative rock bands such as:
Area-7 Custard
Ammonia Dakuta
Antistatic Dan Sultan
Antiskeptic Dallas Crane
After the Fall Dead Letter Circus
Ball Park Music DMA's
The Beautiful Few Drag
Bird Automatic Endorphin
Birds of Tokyo Eskimo Joe
Boy & Bear Epicure
British India Even
Bughouse Gang of Youths
Calling All Cars Gerling
Camp Cope Grinspoon
Ceres Gyroscope
Closure in Moscow Hands Like Houses
Cog Harts
Courtney Barnett Happyland
Hiatus Kaiyote Sonic Animation

Hockey Dad Sparkadia
INXS Spiderbait
Jebediah Sticky Fingers
Jet Sick Puppies
John Butler Trio Sydonia
Julia Jacklin Taxiride
Karnivool Tame Impala
Killing Heidi Testeagles
King Gizzard & the Lizard Wizard The Butterfly Effect
Kingswood The Exploders
Kisschasy The Fauves
Luca Brasi The Getaway Plan
Magic Dirt The Meanies
Mammal The Rubens
Matt Corby The Smith Street Band
Matt Finish The Superjesus
Methyl Ethel The Temper Trap
Motor Ace Thirsty Merc
Not from There Thursday's Page
Pollyanna Rubycon
Pond Reece Mastin
Powderfinger The Vines
PVT TISM
Regurgitator Tonight Alive
Rocket Science Track 5
San Cisco Tumbleweed
Screamfeeder Violent Soho
Sidewinder Mt Warning
Silverchair Wolfmother
Skunkhour Winston Surfshirt
Something for Kate You Am I
Hip-hop
The Australian hip-hop scene gained national momentum after the success of bands such as the
Hilltop Hoods and The Herd in the early 2000s. Other artists in the genre include:
360 Citizen Kay

A.B. Original Cristian Alexanda
Allday Urthboy
Baker Boy Diafrix
Bias B Drapht
Bliss n Eso Fluent Form
Brad Strut J-Wess
Briggs Kerser
Carmouflage Rose Kwame
The Herd Selwyn

Hyjak N Torcha Ry
Iggy Azalea Thundamentals
Illy Tkay Maidza
Horrorshow The Tongue
Funkoars Manu Crooks
Pegz Milwaukee Banks
Pez Miracle
Resin Dogs M-Phazes
Sampa the Great Dialectrix
Seth Sentry Yung Warriors
Grime
Grime is a British electronic genre[77][78] that emerged in the early 2000s, derivative of electronic
music such as UK garage and jungle,[79] and draws influence from dancehall, ragga, and hip hop.[80]
The style is typified by rapid, syncopated breakbeats, generally around 140 bpm,[79][81] and often
features an aggressive or jagged electronic sound.[82] Rapping is also a significant element of the style,
and lyrics often revolve around gritty depictions of urban life.[83]
Australian grime emerged in 2010 after UK-born[84] artist Fraksha released his mixtape It's Just
Bars.[85] Fraksha is widely regarded as a pioneer of the scene in Australia.[86][87][85][88] Fraksha,
alongside fellow MC's Scotty Hinds, Diem and Murky, would go on to form the first Australian based
grime collective, Smash Brothers, in 2010.[89][85] Smash Brothers pioneered what would become
Australian grime music, and were known for their high energy performances. For the most part, few
members initially released a lot of music other than Fraksha, but all were active in the raving scene
where they would go on to expose many to grime music.[87] They also worked with UK based artists
such as Skepta, Foreign Beggars and Dexplicit.[85] Another first for Fraksha was the launch of
Melbourne radio show The Sunday Roast on KissFM with Affiks, dedicated to grime and Dubstep
music. In 2011 he started the first Australian grime night alongside Affiks and Artic called 50/50.
Fraksha in 2011 would go on to perform in New Zealand alongside UK grime pioneer Dizzee
Rascal.[90][85]
The resurgence grime was experiencing in the UK during the mid 2010s would also reach
Australia.[91][92][93] The sound's resurgence also affected the popularity of grime in Australia, with
various other Australian MC's picking up the sound with success, such as Diem, Alex Jones, Shadow,
Talakai, Nerve, Wombat and Seru.[94][95][96]
Art music
Classical music
Jazz
The history of jazz and related genres in Australia extends back into the 19th century. During the gold
rush locally formed blackface (white actor-musicians in blackface) minstrel troupes began to tour
Australia, touring not only the capital cities but also many of the booming regional towns like Ballarat
and Bendigo. Minstrel orchestra music featured improvisatory embellishment and polyrhythm in the
(pre-classic) banjo playing and clever percussion breaks. Some genuine African-American minstrel
and jubilee singing troupes toured from the 1870s. A more jazz-like form
of minstrelsy reached Australia in the late 1890s in the form of
improvisatory and syncopated coon song and cakewalk music, two early
forms of ragtime. The next two decades brought ensemble, piano and
vocal ragtime and leading (mostly white) American ragtime artists,
including Ben Harney, "Emperor of Ragtime" Gene Greene and pianist
Charley Straight. Some of these visitors taught Australians how to 'rag'
(improvise unsyncopated popular music into ragtime-style music).
By the mid-1920s, phonograph machines, increased contact with

American popular music and visiting white American dance musicians
had firmly established jazz (meaning jazz inflected modern dance and
stage music) in Australia. The first recordings of jazz in Australia are
Mastertouch piano rolls recorded in Sydney from around 1922 but jazz
began to be recorded on disc by 1925, first in Melbourne and soon
James Morrison
thereafter in Sydney. Soon after World War II, jazz in Australia diverged
into two strands. One was based on the earlier collectively improvised
called "dixieland" or traditional jazz. The other so-called modernist
stream was based on big band swing, small band progressive swing, boogie woogie, and after WWII,
the emerging new style of bebop. By the 1950s American bop, itself, was dividing into so-called 'cool'
and 'hard' bop schools, the latter being more polyrhythmic and aggressive. This division reached
Australia on a small scale by the end of the 1950s. From the mid-1950s rock and roll began to draw
young audiences and social dancers away from jazz. British-style dixieland, called Trad, became
popular in the early 1960s. Most modern players stuck with the 'cool' (often called West Coast) style,
but some experimented with free jazz, modal jazz, experiment with 'Eastern' influences, art music and
visual art concept, electronic and jazz-rock fusions.
The 1970s brought tertiary jazz education courses and continuing innovation and diversification in
jazz which, by the late 1980s, included world music fusion and contemporary classical and jazz
crossovers. From this time, the trend towards eclectic style fusions has continued with ensembles like
The Catholics, Australian Art Orchestra, Tongue and Groove, austraLYSIS, Wanderlust, The Necks
and many others. It is questionable whether the label jazz is elastic enough to continue to embrace the
ever-widening range of improvisatory musics that are associated with the term jazz in Australia.
However, mainstream modern jazz and dixieland still have the strongest following and patron still
flock to hear famous mainstream artists who have been around for decades, such as One Night Stand
players Dugald Shaw and Blair Jordan, reeds player Don Burrows and trumpeter James Morrison
and, sometimes, the famous pioneer of traditional jazz in Australia, Graeme Bell. A non-academic
genre of jazz has also evolved with a harder "street edge" style. The Conglomerate, The Bamboos,
Damage, Cookin on Three Burners, Black Money John McAll are examples of this. See:
Andrew Bisset. Black Roots White Flowers, Golden Press, 1978

Bruce Johnson. The Oxford Companion to Australian Jazz OUP, 1987
John Whiteoak. Playing Ad Lib: Improvisatory Music in Australia: 1836–1970, Currency Press,
1999
Funding
In March 2019, the Australian government announced an injection of funding worth A$30.9 million
in the contemporary music sector. The funding covers support of live music venues, investment for
Indigenous music, mentorship programs and music exports.[97]
Organisations
Major organisations involved in providing music funding or in receipt of music funding are:
Adelaide Youth Orchestra

Funding agencies Australian Youth Orchestra
Arts NT Canberra Youth Music
Arts Queensland Darwin Youth Orchestra
Arts SA Melbourne Youth Music
Arts Tasmania Northern Sydney Youth Orchestra
Arts Victoria Queensland Youth Orchestras
Australia Council for the Arts Sydney Youth Orchestras
Australian Music Centre Tasmanian Youth Orchestra
Australian Music Office Western Australian Youth Music Association
Create NSW (formerly Arts NSW) Chamber orchestras
Department of Broadband, Communications
and the Digital Economy Adelaide Chamber Orchestra
Department of Culture and the Arts (formerly Australian Chamber Orchestra
Arts WA) Australian Brandenburg Orchestra
Music Australia Camerata of St. John's
Music Council of Australia Melbourne Chamber Orchestra
Queensland Arts Council Orchestra of the Antipodes
Regional Arts Australia
Regional Arts NSW Chamber ensembles
Symphony Australia
Tasmanian Regional Arts Australian Brass
Western Australian Arts Council Australia Ensemble
Australian String Quartet
Music not-for-profit organisations Clarity (chamber music ensemble)
Collusion (chamber music ensemble)
Australian Festival of Chamber Music Compass Quartet
Chamber Music Australia Dean Emerson Dean
Music SA ELISION Ensemble
Musica Viva Australia Ensemble Liaison
Youth Orchestras Australia Flinders Quartet
Symphony orchestras Freshwater Trio
Goldner String Quartet
Canberra Symphony Orchestra Guitar Trek
Sydney Symphony Orchestra Jouissance
Queensland Symphony Orchestra Kammer (chamber music ensemble)
Adelaide Symphony Orchestra Kingfisher Trio
Tasmanian Symphony Orchestra Kurrawong Ensemble
Melbourne Symphony Orchestra New Sydney Wind Quintet
West Australian Symphony Orchestra Nexas Quartet[98]
Overland
Orchestras (pit)
Seraphim Trio
Australian Opera and Ballet Orchestra Shrewd Brass
Orchestra Victoria Southern Cross Soloists
Sydney Omega Ensemble
Orchestras (youth) Sydney Soloists
Synergy Canticum Chamber Choir

Tetrafide Cantillation
The Australian Trio Exaudi Youth Choir
Tinalley String Quartet Gondwana Choirs
TRIOZ National Youth Choir of Australia
Zephyr String Quartet Royal Melbourne Philharmonic Chorale
Song Company
Music competitions Sydney Chamber Choir
Asia-Pacific Chamber Music Competition Sydney Philharmonia Choirs
Cochran International Piano Competition Victorian College of the Arts Secondary
School Chamber Voices
Melbourne International Chamber Music
Competition University of Melbourne Conservatorium of
Music Vocal Ensemble
Sydney International Piano Competition
West Australian Youth Chorale
Choirs
Opera companies
Australian Children's Choir
IHOS Opera
Adelaide Chamber Singers
Opera Australia
Australian Boys Choir
Opera Queensland
The Australian Voices
Pinchgut Opera
Voices of Birralee
State Opera Company of South Australia
Brisbane Chamber Choir
Victorian Opera
Brisbane Chorale
West Australian Opera
See also
APRA AMCOS
Australian hip hop
Culture of Australia
Australia in the Eurovision Song Contest
Australian Musician
Australian Music Examinations Board
Category:Australian musicians
List of music festivals in Australia
List of Australian composers
List of Indigenous Australian musicians, Indigenous musicians and groups
Encyclopedia of Australian Rock and Pop
Australian music charts
Culture of Melbourne#Music
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International Entity" (https://noisey.vice.com/en_uk/article/7xy33d/how-grime-grew-from-london-int
o-a-thriving-international-entity). Noisey. Archived (https://web.archive.org/web/20190121232439/
https://noisey.vice.com/en_uk/article/7xy33d/how-grime-grew-from-london-into-a-thriving-internati
onal-entity) from the original on 21 January 2019. Retrieved 21 January 2019.
87. Ep. 11 - His Way featuring Fraksha (https://open.spotify.com/episode/1Xsx3m5IPNTb3qEZMdpyd
c), archived (https://web.archive.org/web/20190121232533/https://open.spotify.com/episode/1Xsx
3m5IPNTb3qEZMdpydc) from the original on 21 January 2019, retrieved 21 January 2019
88. Sanchez, The Lesson w/ DJ (3 February 2018). "How Fraksha Helping The UK Grime Movement
Go International" (http://thesource.com/2018/02/03/fraksha-helping-take-grime-music-internationa
l/). The Source. Archived (https://web.archive.org/web/20190121232413/http://thesource.com/201
8/02/03/fraksha-helping-take-grime-music-international/) from the original on 21 January 2019.
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89. "Smash Bros (Alex Jones, Diem, Fraksha, Scotty Hinds)" (https://australianhiphopdirectory.com/lis
ting/smash-bros/). Australian Hip Hop Directory. Archived (https://web.archive.org/web/20190121
235420/https://australianhiphopdirectory.com/listing/smash-bros/) from the original on 21 January
2019. Retrieved 21 January 2019.
90. "Fraksha" (https://australianhiphopdirectory.com/listing/fraksha/). Australian Hip Hop Directory.
Archived (https://web.archive.org/web/20190121233934/https://australianhiphopdirectory.com/listi
ng/fraksha/) from the original on 21 January 2019. Retrieved 21 January 2019.
91. "The Fascinating Resurgence of British Grime As A Global Genre" (https://uproxx.com/hiphop/briti
sh-grime-resurgence-global-genre-wiley-stormzy-skepta/). UPROXX. 1 June 2017. Archived (http
s://web.archive.org/web/20190121232434/https://uproxx.com/hiphop/british-grime-resurgence-glo
bal-genre-wiley-stormzy-skepta/) from the original on 21 January 2019. Retrieved 21 January
2019.
92. Manson, Ben (1 February 2017). "It's Grime Worldwide" (https://guestlist.net/article/91059/it-s-gri
me-worldwide). guestlist.net. Retrieved 21 January 2019.
93. "Interview: Fraksha Unites Australia's Standout MCs For The 'Grime Down Under' Mixtape" (http://
lifewithoutandy.com/news/music/interview-fraksha-unites-australias-standout-mcs-for-the-grime-d
own-under-mixtape/). Life Without Andy. Archived (https://web.archive.org/web/20190121232502/
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to/10505962), Australian Broadcasting Corporation, 16 November 2018, retrieved 21 January
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Further reading
Books and articles

Susanna Agardy and Lawrence Zion (1997), 'The Australian Rock Music Scene,' in Alison J.
Ewbank and Fouli T. Papageorgiou (eds.), Whose master's voice? the development of popular
music in thirteen cultures, Greenwood Press, Westport, Connecticut, Ch. 1. ISBN 0-313-27772-9
Susanna Agardy (1985), Young Australians and Music, Australian Broadcasting Tribunal,
Melbourne. ISBN 0-642-09805-0
Warren Bebbington, (ed.) (1998). The Oxford companion to Australian music. Oxford. ISBN 0-19-
553432-8.
Marcello Sorce Keller, "The Swiss-Germans in Melbourne. Some Considerations on Musical
Traditions and Identity", Schweizer Jahrbuch für Musikwissenschaft, Neue Folge, XXV(2005),
pp. 131–154.
Marcello Sorce Keller, "La Swiss-Italian Festa a Daylesford-Hepburn Springs in Australia.
Osservazioni etnografiche e un po' di cronaca", Cenobio, LV(2006), pp. 329–341.
Marcello Sorce Keller, "Transplanting multiculturalism: Swiss musical traditions reconfigured in
multicultural Victoria", in Joel Crotti and Kay Dreyfus (Guest Editors), Victorian Historical Journal,
LXXVIII(2007), no. 2, pp. 187–205.
Edited by Shane Homan and Tony Mitchell (2008). Sounds of then, sounds of now: Popular music
in Australia, ACYS Publishing. ISBN 978-1-875236-60-2.
Online
Bibliography of Books on Australian Popular Music (https://web.archive.org/web/2018070307544
4/http://www.clintonwalker.com.au/aust-music-bibliography.html/)
(in French) Audio clip: traditional Australian music. (http://www.ville-ge.ch/meg/musinfo_ph.php?w
hat=pays=Australie&debut=0&bool=AND) Musée d'ethnographie de Genève. Accessed 25
November 2010.
Australian Folk Songs (http://folkstream.com/)
Traditional Australian Music Archive (http://bushtraditions.wiki/)
Austrlian Variety Theatre Archive (https://ozvta.com/)
National Film and Sound Archive homepage (http://www.nfsa.gov.au/)
MusicAustralia (https://web.archive.org/web/20120606052310/http://www.musicaustralia.org/) –
an initiative of the National Library of Australia and National Film & Sound
Australian Music Centre (http://www.amcoz.com.au)
Milesago: Australasian music and popular culture 1964–75 (http://www.milesago.com)
Australian top 40 singles and album charts 1966–1974 (http://www.poparchives.com.au/gosetchar
ts/)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Music_of_Australia&oldid=969345169"
This page was last edited on 24 July 2020, at 21:05 (UTC).
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26/07/2020 Music of Australia - Wikipedia

Drover", "The Dying Stockman" and "Moreton Bay".[10]

Later themes which endure to the present include the experiences

Early pop music

Australian composers who published popular musical works (e.g.

Australia has a long tradition of

Children's music in Australia developed gradually over the latter

R&B and soul music

R&B soul music had a significant impact on Australian's music,

Rock and pop

First wave of Australian rock

In the mid-1950s, American rock and roll spread across the

Jazz was another important influence on the first wave of

Second wave of Australian rock

The "second wave" of Australian rock is said to have begun in

Third wave of Australian rock

The "third wave" of Australian rock began around 1970, by which

The Choirboys Icehouse

Ayers Rock Brian Cadd

The 1980s saw a breakthrough in the independence of Australian rock—

Several Australian bands, including The Scientists, Cosmic

1990s: Indie rock

The 1990s saw continued overseas success from groups such as

Electronic and dance music

Electronic music in Australia

Parkway Drive The Brave

Vanishing Point Voyager

Punk rock/pop punk

5 Seconds of Summer The Celibate Riﬂes

Australia has created many alternative rock bands such as:

Hiatus Kaiyote Sonic Animation

360 Citizen Kay

The Herd Selwyn

By the mid-1920s, phonograph machines, increased contact with

Andrew Bisset. Black Roots White Flowers, Golden Press, 1978

Adelaide Youth Orchestra

Synergy Canticum Chamber Choir

28. ARIA Awards 2009: History: Winners by Year (http://www.ariaawards.com.au/history-by-year.php)

58. "Summer's biggest day out rolls into Melbourne" (http://www.theage.com.au/articles/2003/01/24/1

Books and articles

Retrieved from "https://en.wikipedia.org/w/index.php?title=Music_of_Australia&oldid=969345169"

This page was last edited on 24 July 2020, at 21:05 (UTC).

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