'Our Place Our Music surveys the latest developments in Aboriginal music across Australia and traces some of the historical influences which have shaped it. It shows how dynamic Aboriginal culture is, and how music maintains many of the essential values of Aboriginal life. This book is a landmark in its field. It is a must for specialists in ethnomusicology and essential reading for anybody with an interest in the rural and urban sounds of Aboriginal Australia' Publishers note (21/05/2009)
'This book was intended as a chapter in the book: Missing in Action: Australian Popular Music in Perspective (volume 1 is published by Verbal Graphics, Kensington, Victoria 1987), but it became too large and Aboriginal Studies Press accepted it for separate publication. The book is mainly concerned with Aboriginal popular music, especially over the period about 1975-85 (with an update to 1988). Considering the large size of the subject as revealed in the book, it is surprising that so tittle of a general nature about it has been published. This constitutes its importance since so few are aware of the vitality of Aboriginal music-making beyond traditional music. A s the authors ruefully point out, Tribal music has mad e more forays into the white world than non-tribal, because it has had more support from the establishment both at home e and overseas' (p 109).' (Introduction)
'This book was intended as a chapter in the book: Missing in Action: Australian Popular Music in Perspective (volume 1 is published by Verbal Graphics, Kensington, Victoria 1987), but it became too large and Aboriginal Studies Press accepted it for separate publication. The book is mainly concerned with Aboriginal popular music, especially over the period about 1975-85 (with an update to 1988). Considering the large size of the subject as revealed in the book, it is surprising that so tittle of a general nature about it has been published. This constitutes its importance since so few are aware of the vitality of Aboriginal music-making beyond traditional music. A s the authors ruefully point out, Tribal music has mad e more forays into the white world than non-tribal, because it has had more support from the establishment both at home e and overseas' (p 109).' (Introduction)
