Appendix 6 - International Music Council

• Cite examples of government promulgation of a single
musical or cultural identity and
any associated constraint on other musical or cultural identities.
RESPONSE. There is no official Australian policy of this type.
• Cite examples of similar promulgation by the citizenry or sections of the citizenry.
RESPONSE. There are those opposed to the policy of multiculturalism. As we understand
it, they believe that its consequence is to create permanent ethnic divisions within
Australian society. The present conservative government is not enthusiastic about
multiculturalism. However, these concerns fall far short of attempting to enforce a uniform
cultural identity.
33. The manner in which musical diversity is addressed by music workers and expressed
in various forms of musical creation; the relationship to identity
• Cite examples of cultures in which musicians
and/or the various participants in the
music busine ss (producers, presenters, record companies etc) are interested in musical
diversity – in t he sense of the simultaneous practice or presentation within a society of
many forms of music.
RESPONSE. Music in Australia includes a very broad range of popular music genres –
rock, dance music, electronica, hip hop etc etc, jazz, country, folk (the term used to be
applied to what was regarded
as ‘Australian’ folk music from the Anglo-Celtic tradition,
but now covers all manner of traditions from the immigrant populations), a multitude of
ethnic musics both folk and classical, indigenous music whether traditional or
contemporary, the various forms of classical music…
The force behind these various
musics is the commitment of the musicians, to which is
appended the energies of teachers,
managers, producers etc. Some musics are further
encouraged by government support. Classical music is highly dependent upon such support,
as noted above. Other genres favoured by governments include to a lesser extent jazz,
multicultural and indigenous.
The genres tend to be vertically organised. For instance, classical
music has its own
performers and performing organisations, but also its own educational institutions, record
companies, broadcasters, venues. These are not exclusively devoted to classical music – the
borders are very blurred, but on the other hand they might never include hip hop, and
classical music will never be heard in many venues, radio stations and so on, even at the
point of a gun.
That said, it is widely thought that both musicians and audiences no longer seal the musical
genres off from each other, but routinely cross musical borders. A classical music
enthusiast or musician may well also listen to or play jazz or some forms of pop music
(although most probably not country music!). A country music lover may also listen to rock
or folk but is unlikely to be found at the opera.
‘Multicultural’ music perhaps is a special case. Australia relatively suddenly welcomed
immigrants from many cultures, and some brought their music with them. However,
in the
early days of assimilation, the emphasis was on leaving the old ways behind them and
joining their new society. Instruments were put into closets and musical skills
went unused
and unheard. Then multiculturalist policies took over and there were moves to bring these
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