Category Archives: community music

CMVic Celebrates Make Music Day ’21 with Optimism & Ukeoke!

Once again on June 21st, Make Music Day Australia will bring together friends, colleagues, strangers and neighbours to share joy and connection in a free celebration of music making for musicians of all levels using a glorious smorgasbord of styles, both online and -restrictions permitting – face to face. This year’s world wide event is about optimistically embracing uncertainty and will feature a global live stream of events that include an International Leaf Blowing Symposium, Window Serenades, Drum Battles, Folk Challenges, Song Swaps and more, all taking place on the day itself and over the preceding weekend.

As a proud foundation partner in this annual celebration of music, CMVic has been busy encouraging community music leaders from across Victoria to register their June events or upload a new or recent video to showcase their group on the Make Music Day Portal.

Craig Barrie, Digital and Strategic Communications Coordinator for Community Music Victoria says, “A number of CMVic members will be sharing the musical joy locally, despite the challenges being thrown at us all by lockdown and wild storms. With the power still out in some parts of Victoria, I hope everyone is doing okay!”

To keep everyone nourished and connected during this time of uncertainty, CMVic has focussed on running several online community events to promote and celebrate Make Music Day. June began with a Pizza Party Video Showcase, hosted by Craig with CMVic’s Program Coordinator, Nicki Johnson. The duo conducted a series of live, online interviews with community music leaders talking about their virtual choir and band projects which emerged as poignant, defiant and cathartic responses to last year’s long lockdown.

“It was inspiring and humbling to talk with leaders about what these projects meant for their groups, and for them personally. I am in awe of the effort and work leaders put in to maintain social connections between their participants over the last 18 months.”

At 5pm this Sunday, June 20, CMVic will be running a special Make Music Day ‘Ukeoke with Bruce Watson and Friends’ – a virtual version of Bruce’s popular sessions at CMVic’s Grantville music camp.

Events like these are CMVic’s strength- encouraging participation at all levels – and Bruce personifies the joy of making music together.

– Craig Barrie

This free event will offer uke enthusiasts everywhere the opportunity to join Bruce and friends to sing and strum old favourites and learn some hot new tunes to bring warmth and light into the shortest day.

Events like these are CMVic’s strength – encouraging participation at all levels – and Bruce personifies the joy of making music together. Nicki and Craig will also be sharing a couple of songs, as will Margaret Crichton; John Howard and Michelle Fox. This team is now highly experienced at leading online sessions, and Craig has been practicing his delivery format all week to ensure everyone will be able to see all of the vital bits – words, chords and leader – onscreen at the same time:

As Digital Coordinator, my job on the day is to ensure both lovely sound and clear video, so people can luxuriate in the music. Ideally I hope participants completely forget they are online and will be transported to the Grantville Homestead!

Here’s a sneak peak of how we’ll be sharing the music… Sit back and strum and sing with your very own page turner!

Having taken on the role of Digital Coordinator at the height of the 2020 lockdown, Craig knows only too well that it takes a bit of “technical jiggery-pokery” to ensure people can both see the “chirds” (i.e. chords and words) and the presenter, and has had plenty of practice at getting this right. This weekend’s Ukeoke will see Craig back on the buttons and flexing his tech skills to deliver some online magic once more.

Below is a photo of the software I use for live streaming. It is called Open Broadcast Software (OBS) and it is used for all sorts of online events, from hugely popular “gamers” with millions of international viewers to church services and ceremonies.”

You can watch CMVic Ukeoke with Bruce Watson and Friends live (and go back and watch it again later!) here: https://www.facebook.com/cmv.music/live

By Deb Carveth, CMVic Online Editor Coordinator, with Craig Barrie, CMVic Digital & Strategic Communications Coordinator

CMVic is proud to be foundation partners of Make Music Day Australia, a celebration of participatory music making, alongside The Australian Music Association (AMA), Make Music Alliance, and APRA/AMCOS. For all of the info about Make Music Day Australia and to see what else is happening around the world, visit https://makemusicaustralia.org.au/

Making Music, Chocolate for the Soul

By Scarlet Lee

A common mindset when approaching musical participation, especially working collaboratively, is that you need to reach a certain skill set before you can perform. However performance can have many advantages beyond other people enjoying your music.

Community Music Victoria is driven by the belief that every person should have access to the benefits of making music regardless of skill set. Making music can help improve our state of mind and stimulates the brain. Performing in a group provides opportunities to socialise and build friendships, and can also build up our team-based skills.

From personal experience as someone who plays the ukulele, performance is exponentially more enjoyable if it’s in a group. It gives the feeling that you are part of something more and that you’re contributing to something meaningful. It’s as though you are helping create a masterpiece in an auditory art form.

From a medicinal standpoint music can provide clear benefits. In treating depressive illnesses, four out of five trials involving music therapy were shown to be effective, this can be correlated to the brain’s reward centre. When a person is singing or playing music it triggers the reward system in the same way it does for things such as eating chocolate. This indicates that participation in musical activities can improve your mood. Additionally, researchers theorise that music making can stimulate the cerebral cortex which manages higher functions such as memory, correlation and processing of information. By stimulating the cerebral cortex it is essentially providing a warm-up for that area of the brain which allows it to process information more effectively.

Medically speaking, it is evident that there are advantages to playing music, especially in terms of mental health and cognitive function.

Although solo music playing can be constructive, singing and playing music in a group provides all the same health benefits whilst also introducing a social aspect. Making music in a group allows for social interaction and collective catharsis. We can express emotion through music as a group and certain song choices can provoke certain emotions. It also provides a sense of belonging for those included as they are part of a collective, and share experiences with their musical comrades. Friendships can also be built and strengthened through communal music, as everyone is participating in the same thing and building skills and confidence together.

Expanding on this, collective music making can build teamwork and communication skills through working collaboratively with others and learning how to have discussions with fellow group members.

Overall there are many reasons to participate in communal music making. Group music can improve mood and provide a cognitive warm-up, both of which have clear benefits to wellbeing. There is also a strong social aspect involved when playing music with others, and there is a sense of belonging and feeling like you are contributing to something greater than yourself.

As someone learning the ukulele I can personally verify that playing music definitely has its benefits, but when participating in a music group it is far more rewarding. The atmosphere itself is much more lighthearted and warm. There is opportunity for conversation or constructive feedback and you get to appreciate others abilities as well as the group’s as a whole. When you compare this to solo practise or performance you miss all the laughter and joy that comes from collaboration.

There is a strong social aspect involved when playing music with others, and there is a great sense of belonging and feeling that you are contributing to something greater than yourself…

Music is often a key component that relates to many cultures and allows people to be immersed in their culture. The engagement in our own culture is important, as we gain a sense of inclusion within our cultural community. Through music people can gain a stronger understanding of their identity and culture, and the identities and cultures of others. For example in Indigenous Australian culture the stories of creation are told through songs and music, and sacred music performed in ceremonies are a crucial aspect of indigenous culture. In terms of my own culture my father is British, and always enjoys when I play popular British songs on the ukulele. This illustrates how we can connect with our culture and share parts of our culture through music.

Scarlet with her ukulele

Overall there are many reasons to participate in communal music making. Group music can improve mood and provide a cognitive warm-up, both of which have clear benefits to wellbeing. There is also a strong social aspect involved when singing and playing music with others. Friendships and skills develop, and there is a sense of belonging and feeling like you are contributing to something greater than yourself.

Scarlet Lee is a year 10 student and a keen ukulele player who joined the CMVic team for work experience in April and May

Photo supplied

Singing In Step With Leanne Murphy

Over the past ten years, Leanne Murphy, a community musician from North East Victoria, has experimented with ‘a lot of things’ to keep herself and other people energised; running long-term projects, singing groups and ukulele groups.

Since the pandemic began, Leanne has been finding it ‘hard to know what’s what’, with the restrictions around group music-making changing so often in recent months. Not one to let this get her down, Leanne has returned once again to experimenting and having fun in finding new ways of getting back to community singing.

“I’d optimistically do ‘pay in advance for four sessions and invariably, one of them would have to be cancelled and it’s a nightmare having to do refunds and stuff so I’ve just decided I’m going to keep things casual, see how it goes and keep it all nice and fresh!”

Back at the end of March, the first project off the blocks was a Beechworth Easter Sunday Walk and Sing which was run, (well, walked!) by Leanne through Albury Wodonga Bushwalking Club as a freebie for club members.

“Combining bushwalking with singing, I wasn’t certain if anyone would be interested but 16 set off from the Beechworth Powder Magazine at 9am, after entertaining a number of tourists in the carpark with a rendition of Bele Mama (from Cameroon), and one more joined us halfway along the track.” 

The group’s first stop was One Tree Hill where they sang Hamba Nathi, with the English translating as “Come with me for the journey is long” in 3-part harmony.  Then it was on to The Precipice and morning tea, accompanied by Swing Low Sweet Chariot to celebrate the spirit of Easter Sunday. Various other stops along the way included Fiddes Quarry where the group had an audience of one for the haunting round, Be Still And Know by Jokhim Meikle.

 “A delightfully curious lady from Palestine stopped to listen and insisted she definitely did not want to join in.  We did manage to coax her into taking a video though.   By the time the group returned to the Powder Magazine, discussions were already underway about the potentials for a ‘next time’. I realised I’d never done a singing walk before and nobody else on the walk had ever done that before either. It was quite eye opening for me.”

Leanne has been walking with the Border Bushwalkers for around three years now. “They’ve really developed my confidence in how far I can walk and also what kind of challenges I can achieve, so I’ve gone from being somebody who’s never camped or hiked overnight to doing the Great Ocean Walk which is nine days of carrying everything on my back by myself! For me to be able to give something back to the club that I’m qualified to do and lead a walk with people who are very good at bushwalking but may not be as strong with singing, it was a real joy!”

Singing outdoors felt particularly good as Leanne has noticed people feel nervous about singing inside, in spite of the North East having had no recorded cases of COVID.

“There’s an underlying sense of wondering whether we’re allowed, or are we going to get a visit from the authorities looking over our shoulders saying ‘you can’t do singing’ and so I thought let’s just get something going and see who’s still interested in having a sing, and I think that people were just really grateful to have the opportunity to sing together again.”

From May 2, Leanne is running a series of informal, drop-in Sunday singing sessions to help see out the winter months. This project is called ‘Hearth Songs’ a name inspired by the album Hearth by Michael Kennedy. “I really want to do one of the songs off that beautiful album. It’s called ‘Indigo’ and is all about looking after this indigo planet we live on. Because I live in the shire of Indigo I thought it would be a good match up, too!”

Leanne is interested to see how Hearth Songs will go in a venue with casual numbers. “I’m just putting out an intention to the universe, as you do, to say ‘please let the numbers be perfect for this venue! So we’ll see how that goes.”

Prior to COVID, Leanne developed and delivered a program called Spring Sing which was run two consecutive years during October and November, and was enjoying thinking up other, short-term programs. “I used to run a longer-term singing group but couldn’t sustain once a week sessions throughout the whole year, and so I’ve been focussing on programs I know I can manage.”  

Following the success of the Easter Sunday Walk and Sing, Leanne’s hoping to continue with the bushwalking and singing theme to celebrate the springing of Spring, sometime in November. Her vision is to combine a weekly mid-week walk with more, joyous outdoor singing and hopes this will build up the health and stamina of everyone involved:

“We might possibly work up to a weekend hike where people can camp overnight and sing, doesn’t that sound good?”

Until then, drop in and join Leanne for some heart-warming community singing sessions to banish the cold and keep the glow going as we head towards winter. Hearth Songs will be stoking up each Sunday afternoon throughout May and June with chants, rounds and songs to warm your cockles through the cooler seasons.

Written by Deb Carveth, Online Editor for CMVic, in conversation with Leanne Murphy

Hearth Songs is held from 4-6pm each Sunday at Wooragee Hall. Email leannemurphy@bigpond.com to join the event’s emailing list. Walking boots optional.

Online or On Stage: A look at What’s On with Bruce Watson

As both a song writer and performer, Bruce Watson is always thinking about how to relate to people through his music. “I’m very involved with Community Music Victoria although I’m mostly a solo performer who tries to bring about that musical connection through audience participation rather than teaching or leading groups.”

Over the course of the past year, Bruce has been exploring new ways to do this. The hiatus to live music and performing fed a pre-existing interest in ways to incorporate technology into his music-making practice which was forced to evolve as everything locked down in order to continue.

“I had quite a few gigs lined up which just disappeared and all the CD sales disappeared too. I found myself in a vacuum and I wanted to fill it with something in a way which would benefit my ongoing music career.”

Unwilling to surrender fully to Netflix and bread making, Bruce embarked upon ‘30 songs in 30 days’a daily song-writing challenge conceived as a way to keep himself distracted and busy. As a frequent facilitator of song-writing workshops, Bruce has been a long standing advocate of the ‘just give it a go’ approach. His self-appointed mission was to write a song a day throughout April, last year.

“If you write a song a month, then after a year you’ll probably have 3 or 4 songs that are really good, which you might not have had if you’d sat waiting for the inspiration to come. I’ve always said that, but I haven’t always done it.”

Bruce admits that staying inspired to write a song a day for a month was actually quite hard but having a good level of insight, he promoted it in ways that left himself no wriggle room.

“If you want to do something that you see is a challenge I always think the best way to make it succeed is to tell other people that you’re doing it. If I’d just kept it to myself I might’ve stopped after a week or two, so I posted it all over Facebook and I made a commitment to do a YouTube video every day. Sometimes making the video was even harder than writing the song.”

Bruce started getting good feedback which he describes as ‘a lovely encouraging thing’, but still found there were times when the inspiration wasn’t immediately forthcoming. He had a fallback folder of song ideas and ‘scraps of things’ but found much of April was spent wondering what he would do tomorrow and what he would write about that day. He came to realise that, in the end, something always percolated to the surface.

“To me it was a great illustration of how there’s an awful lot of stuff sitting in all of us in terms of creativity and if we do something to bring it out, if we consciously tap into that, inspiration will actually strike and it’s an amazing thing to realise!”

At the end of the month Bruce felt exhausted but satisfied. “It was something I wasn’t sure I was going to be able to do and I did it! I anticipated writing a lot of little bits of songs that weren’t really proper songs, but they ended up being all whole songs. And more of them were of a higher standard than I had expected, in fact I was surprised by the quality I produced under those circumstances” laughs Bruce.

Since the latter part of 2020, Bruce has been part of the CMVic team instrumental in bringing Music Software Workshops to the world. While the pandemic made the need for this knowledge sharing particularly important and brought it to the fore, the MSW team were visionaries who had perceived a need for the implementation and delivery of such a program for some time.

This wasn’t just about COVID it was about the ways software can help to share music for both leaders and music group members.

For some time, Bruce has been using MuseScore, a music notation software, to share music with his panpipe band in a way which allows players to practice at home on their own. “Because of the traditional panpipe playing that we do, any given player only plays half a tune because the scale is split between the notes. It’s like you’re playing a button accordion or a harmonica and only playing the blow notes or the suck notes, so you can’t play a tune by yourself. This means you can’t practice on your own and that makes it harder to learn the material. It’s the same for a choir or any band if you’re singing or playing a harmony against the melody you can use this software to easily create all the parts yourself to practice with, and that’s how I’ve used it.”

Last year, Bruce also got to grips with virtual choir technology, which he tackled in a highly successful experiment using his song, Déjà Vu. This project brought together a number of singers from several different countries who each recorded themselves singing to a backing track provided by Bruce which they uploaded to Dropbox. “I updated my video editing software to DaVinci Resolve and used some of the processes talked about in the music software workshops to plan the project, put all the tracks together and work out how to share files. In some ways file sharing can be the biggest hurdle – which can be very easily overcome.”

Bruce’s ‘Deja Vu’ virtual choir project in the making. Photo: Facebook

“I think what’s happened is that COVID came in and everyone searched for something new, in terms of both technology and how to relate to each other and how the musical experience can be shared and there are some really good things about that that didn’t exist before, and those are things that I don’t think we want to give up, such as sharing music across geography. People can join from remote locations and even from other countries. I’ve been involved with Zoom folk clubs where people have participated from five different continents and it’s been absolutely wonderful. Understanding how to make Zoom work well is something I think people might continue to explore.”

That said, upon his return to live performing a couple of weeks ago, Bruce realised more than ever how the sharing of live music is a tremendous and absolute gift.

“I don’t know whether I ever really took live music for granted because it was always just a part of my life, whereas now I am conscious of what life is like without it and yes, you can share music through Zoom and so on, but it’s not the same.”

Something Bruce loved was seeing people react spontaneously to his new material. “At my first festival since lockdown recently I decided only to perform the 30 songs in 30 days. So every song was a live premiere, which was incredibly nerve wracking and I was very nervous, but it was so good to have these songs exposed to the real world and to be able to judge how people were reacting to them.”

On 2 April, Bruce will be playing live to a small live audience Under the Oaks where he will be encouraging lots of audience participation.  Bruce laughs, “It’s really great with these COVID restrictions because you can have a small, intimate audience AND a sell out!”

“I think for a long time we’ll value that gift of live music and that’s what I’m loving now, to hear people singing back to me. Music was a great connector during COVID but the magic wasn’t quite there. That’s something that only really happens when people gather together and share a physical space, but I’m so grateful that I’ve been going to Zoom folk clubs in the UK and have made new friends along the way too, it’s been really, really great. And there are a couple of people over there singing my new songs now, too!”

Catch Bruce Under the Oaks on 2 April, or stay in touch with his gig guide at brucewatsonmusic.com

Recordings of previous CMVic Music Software Workshops are available on Community Music Victoria’s website, here.

Photographs: Jill Watson via Facebook

Ballarat Choral Society Researches Safe Ways of Singing Together Again

In a quest to know if and how it could be safe to all sing together again, Ballarat Choral Society applied for funding from Regional Arts Victoria to conduct some research of their own. “What we were anxious about was that there didn’t appear to be any specific information coming through for choirs” says Merle Hathaway, President of the Ballarat Choral Society (BCS), a non-auditioned community choir with over 100 singers on the books.

“To just not sing any more is not really a good idea when you look at all of the health benefits associated with it. Our idea was to form a small team of people with expertise in all sorts of different areas to work out whether it was at all safe for us all to sing together and also to explore whether there was any sort of technology we could use which would enable us to sing in the one space.”

The resulting Singing Together Again (STA) team comprises Professor Catherine Bennett, Chair of Epidemiology at Deakin University; civil engineer Michael Knowles, sound recording expert Rex Hardware, and BCS choir members Brian Sala, an electronics engineer; Musical Director Helen Duggan, and Merle, who is the project manager. “We got the grant and then realised that we didn’t have an epidemiologist on the team”, Merle laughs.  “We didn’t have anyone from the world of health at all. Somebody had heard Professor Catherine Dennis speaking so we asked her and to our surprise she said yes.”

L-R: Helen Duggan (BCS Musical Director), Professor Catherine Bennett, Brian Sala (electronics engineer, Vice Pres & bass singer), Rex Hardware (sound engineer), Mike Knowles (civil engineer) and Merle Hathaway (project manager, & President of  BCS). Photo supplied


In this world-first project, the plan was always to share the findings with other singing groups and choirs.

“I came across a bunch of people singing in a park recently, all side by side and sharing the same piece of music. They were having a lovely time and singing at the top of their voices, but the way they were doing it was too risky and so we started to think it was time to begin sharing the findings of our research with singers and singing groups everywhere.”   

Over the course of the past year, the STA team has followed what’s been going on around the world and staying on top of the data emerging from world research around aerosol dispersal and voice projection, translating all of the associated findings and risks into a COVID safe plan that takes a whole range of things into account.

The findings of their research to date recommends singing in a well-ventilated space, limiting indoor singing time to 20 minutes, and spacing singers 2 metres apart with 3 metres between rows. Air movement and effective ventilation is key. BCS are also planning to conduct temperature checks at the door as a way to avoid complacency and as a reminder to themselves that the risk of infection is real and ever present.

Merle adds, “other advice from Professor Bennett has included using fans to blow out the space when you’re not in it during breaks between singing, when all of the singers have moved out of the rehearsal area. The time that you sing for is really critical too. Keep ‘solid singing’ to 20 minute blocks and then move out of the room and use fans to blast air through it before returning back in.”

Ballarat Choral Society is hunting for a space which fits this criteria and has even considering singing in underground car parks because they’re usually draughty spaces.  “In Ballarat the winters are quite cold so ideally we want to find a big space or a space that allows us to move from one place to another like a church hall attached to a church, or like the football oval where there’s indoor and outdoor spaces adjoining for singers to move between.”  

They were all set to try out a new venue – two adjacent halls – when the latest Victorian regulations postponed all gatherings for at least a week. The choir is also making a set of specially designed singers’ masks, with stiffening away from the face.

Merle and the team are also exploring ways to overcome the challenge of everyone effectively holding their parts whilst physically distanced. “We have some very strong singers and we also have people like me – I rely very heavily on the presence of having a very good singer behind me!”

One idea being considered is for singers to wear a headset which feeds the sound into a mixer and relays it back to the singers’ ears. While this would call for more funding, Merle is excited about the possibilities this technology could open up: “I think we could really have fun with it, we could try our underground carpark idea, each coming from different directions, we could try singing in the Botanic Gardens at a huge distance from each other like a flashmob while all remaining connected.”

To overcome the natural gravitational pull of navigating towards each other whilst singing, the BCS have found a lovely, low-tech solution to the problem. “A member has donated a set of sports field markers – yellow plastic discs – which we can place on the ground to give us all a nice bright reminder of where we should be standing!”

One thing which preoccupies Merle in the small hours of the morning is the hope that “we’ve got it right and what if we’ve got it wrong?”

It’s important to keep in mind that this is a live project, the findings being shared are what the team has discerned to date, and that precautions can be increased or reduced, for example the wearing of masks indoors, depending on the level of threat from COVID in the community at any point in time.

The STA team had expected to conclude their research in February but because of the fluidity of the whole situation, Merle believes that it is likely things will roll on beyond this point. As Merle says, when it comes to considering a world without any face-to-face community singing, “to do nothing is more risky; we’re better off to share what we know – to say it’s early days and to encourage other people to continue their own research as well… All we want to do is sing.”

L-R: Helen Duggan (BCS Musical Director), Brian Sala (electronics engineer, Vice Pres & bass singer), and Merle Hathaway ((project manager, & President of  BCS). Photo supplied


Stay tuned to STA research findings, updates and outcomes by joining BCS mailing list: info@ballaratchoralsociety.com

Article by Deb Carveth, Online Editor for Community Music Victoria, with Merle Hathaway, President of Ballarat Choral Society

‘Holy Night’: Celebrating Un-Silent Nights and the Holiness of Nature

During December in Australia, the summer nights are anything but silent. When we stop as the holidays start and feel able to enjoy moments of stillness and the time to listen as the sun sets, nature is audible in abundance all around us. The pobblebonks bonk, insects hum and buzz, and birds croon, squawk and call.

The wish to celebrate our gloriously noisy, midsummer nights motivated community singing leader, Rose Wilson, to write a version of Silent Night that is relevant to the festive season in Australia. Rose’s adaptation, Holy Night, is ethereal and beautiful. It sings of connection to the land and the spirituality of the season. It is a spinning, shimmering blank canvas onto which the listener can project memories of what has been and hopes for what is yet to come.

Rose, a community singing leader based in Newcastle, on the mid north coast of New South Wales, wrote and recorded the song as part of a bigger community project in her local area called The Christmas Bell.

“I remember thinking ‘well this is my opportunity to write and sing a Christmas carol, what is it going to say?’ I knew I wanted to do something around Silent Night and we have a dam and so many MANY frogs and I was sitting outside listening to them all, just thinking.”

Rose knew what she didn’t want to say. “I didn’t want to sing songs about presents or god, I could see all the things I didn’t want to say! Fortunately it emerged to me really clearly in the end.” Rose was keen to make her carol particular to Australia “but not shit.” Rose laughs.

“A lot of Australian Christmas carols don’t fill me with awe or pride or connection  and while I’m not religious I think the idea of a time to value something that is holy, whatever that means, or something which is bigger than us and something that is beautiful and allowing something to be awe-inspiring was what I was working towards. Doing something that felt powerful and big but that was in itself quite small. Then I realised that the nights in summer in Australia are absolutely not silent.”

Sitting in the dark and listening to the frogs, Rose was inspired to counteract the idea of Silent Night by playing all the noises filling the night sky. She went on to record all of the frogs and all of the insects and began playing these loops against the song, making up tunes and words and then ‘it happened’. “It emerged and clarified itself into two really clear partner songs.”

Rose continued to experiment, trying a version of Holy Night accompanied with harp and a version accompanied with piano but she found it was significantly more magic just using her voice and the backdrop of nature.

“I feel as though here in Australia we try to put the big energy of Christmas on top of a seasonal energy which is already really big because it’s the summer solstice – it’s huge, everything’s exploding! Couple that with the end of the year and our Christmases just feel so frantic because we’re not responding to the season.”

“All of our big holidays are seasonally wrong and so finding a way to acknowledge the bounty and the bigness of the life that is going on and being able to sit with a still energy, not a cold frozen energy, but an energy of awe and beauty and acknowledging its ‘holiness’ and its wonder was what I was thinking. All those kinds of thoughts.”

Rose felt ‘so grateful’ that her version of Silent Night – ‘Holy Night’ – emerged the way it did. “It ticked all the boxes I had. It acknowledges the traditional aspect of Christmas and something that’s particular to Australia without being crass or making me cringe.” Rose laughs again.

“It also references summer with a nod to the solstice and a time of reflection and holiness and beauty and the fact that we’re not the only things here. I like that the voice is so still and so calm and so flowing but the insects and the frogs are going crazy.”

The line that brings everything into focus for Rose is “with life singing that this is holy.

“It’s saying that this too is holy, we are nothing without acknowledging that we are part of something bigger and that aspect has a physicality and a life as well.”

The song was written and recorded during November and released as part of The Christmas Bell project in December.

The music, the frogs and the cicadas from Holy Night are now offered by Rose as tracks for sharing with the world, and she would like nothing more than for them to be picked up, used and shared in the spirit of the season.  

“I don’t know whether anyone else will sing it, a few bits are really high but I’ve just put it all out there in the hope that maybe somebody would like to sing it one day!”

Written by Deb Carveth, online editor for Community Music Victoria, in conversation with Kate Wilson

Rose Wilson: Photo supplied

Rose Wilson runs 5 community choirs, and pre-covid an additional 4 school choirs) Port Macquarie): mixed choirs, women’s choirs and mums and bubs choirs. She is also the founder of unscarysinging.com

Access Rose’s recordings and a three part harmony score of Holy Night to sing with your choirs and singing groups is available here: https://drive.google.com/drive/folders/1p0ZLqgT7pIKsGd0VXBvHJSxAjYpNTYFs?fbclid=IwAR2obTS0CFOqCM5NIwbL80_5WAoriami-FWBrBAjHHHOUNmnVcp8YZebQ0E

Singing Stories for the Fun of Folk

‘Non-stop Australian folk music’ was the soundtrack to Martie Lowenstein’s childhood. Martie, whose mother Wendy Lowenstein was an author, oral historian and co-founder of the Victorian Bush Music Club, is now using the folk songs she heard as a child and incorporating them into an online music history course called ‘History of Australia in Song 1788-1988’. 

“Mum loved Australian history and folk songs. She started the first folk festival in Melbourne, and used to edit the magazine called Australian Tradition which published both traditional and contemporary Australian songs and folklore, so yeah that was her thing!”

In 1969, our whole family travelled around Australia for a year while my mother recorded everyday  peoples’ life stories in the outback, and these songs and stories would play in our small house as she was writing her books. Earlier than that, we used to go to monthly sing-alongs and bush dances run by the Victorian Bush Music Club so I’ve been familiar with traditional Australian songs and music since I was around 7 or 8 years old.”

Apples seldom fall far from the tree and earlier this year Martie decided to go back to her roots and incorporate her family’s love of history and the folk tradition into her own work as a singing leader: 

“I run a singing group down here called “Sing till you Grin”, (on the Mornington Peninsula) and I was getting a bit bored with people wanting to sing the same songs again and again, so I asked what Australian folk songs people knew and they came up with Peter Allen, The Seekers, John Farnham and Waltzing Matilda.  Nobody came up with what I would call real Australian folk songs and that’s when I got the idea for the course.”

The result is an 8-week blend of singing and history following a chronological timeline, and is delivered via Zoom. The songs are short and easy to teach and Martie finds the weaving of history with music suits people who don’t necessarily consider themselves singers or musicians. “We sing for fun”.

“”We cover 200 years of what life was like throughout Australian history, using Australian folk songs, poems and real life stories from 1788 to 1988. The sessions cover a mix of well-known and unfamiliar Australian bush songs, poems and a few of Mum’s real life interviews that are now held in the National Library. That leads to interesting group discussion. I start with the convict era songs, then there’s a week on squatters and settling the land… people really love the bushranger songs, and the bullocky songs.  Banjo Patterson and Henry Lawson are the ones they often remember, then through to Slim Dusty and Men at Work. We sing about the gold rush, and of the struggles of the adventurous people who chose to come here to make a better life.  Ordinary people had a tremendous struggle in our rugged environment.”

Along the way, Martie invites contribution from participants and encourages the telling of family history-stories, outback Australian experiences, favourite Australian poems and songs. Every participant gets a copy of the Joy Durst Australian Song Collection to take away and enjoy. (This songbook with music chords and lyrics is available free from the Victorian Folk Music Club website.)

“People will say ‘oh my great-great-great-great grandfather was a convict’ or ‘my grandpa was a settler on this place but lost his land’, so I just let people talk and often they’ll share how their ancestors had this tiny little property but couldn’t make a go of it over here. One lady had an ancestor who came over as a convict. I believe we really don’t know our own history  well, not in-depth, about what conditions were like, what droving was like, what being a convict was like, or being a woman alone in the bush whilst her husband went out droving or shearing to make ends meet.”

Martie addresses the consequences of this period on Indigenous Australians and how colonialism derailed and disrupted Aboriginal life but the emphasis  is on the telling and sharing of White Australian history, as this sits within her own frame of reference.

“We discuss the role of slavery on the cattle stations and how it was the Aboriginal stockmen who kept the Australian cattle industry going, and about the Aboriginal women who were taken off as drover’s wives. I am very familiar with teaching  the white history of Australia but not having the background in Indigenous history or music, we do listen to some Indigenous droving songs but I feel  that’s not my story to tell.”

For song references Martie resorts to rifling through her own record collection and also finds inspiration from the website of cultural historian and singer-songwriter, Warren Fahey.

“Warren is a prolific folklorist  who has written and recorded so many Australian folk songs covering all these topics.  And his amazing website incorporates all the history and stories behind our  folk songs.”

Martie ensures that the singing component of the course is simple, easy to pick up and easy to teach. Many of the songs are singalongs she used to sing around the campfire as a child, her father playing guitar under the stars.

“Because Mum was well known in the folk music industry there would always be lots of people over at our house so I’ve sung from childhood and I think singing for the joy of it – not to perform or for anyone else – that really comes from being round the campfire when we were camping as kids.” 

For Martie, the beauty of the folk genre lies in the telling of simple stories about everyday life, the tapestries from and by which we are woven into the history of unremarkably remarkable things.

“I think that’s the beauty of folk music, it is literally of the people, for the people; it’s about taking everyday peoples’ music and stories and bringing it into this time. It’s freely available, in the public domain and I’d love to see it used more extensively for community music making.”

Written by Deb Carveth, Online editor for Community Music Victoria, and Martie Lowenstein

Feature photo by Robson Hatsukami Morgan on Unsplash

Songs for Western Port Bay

By Laura Brearley

My husband Terry and I live on Phillip Island (Millowl) and we love Western Port Bay. We love its beauty and its stillness and we love its birds.

It is from this place of love that we have been writing songs, making films and bringing community members together though music in response to a proposal by AGL to moor a regasification plant at Crib Point and build a 60 kilometre gas pipeline from there to Pakenham. We want to celebrate the richness of life in Western Port and stand up for its protection.

We are now at a critical point in the community conversation. The issue has been in our awareness for years, but we have a short window now to gather our collective strength, listen to the science and do what we feel the future is asking of us. We strongly believe Western Port is not the right site for industrialisation. The eco-system of the Bay is too significant and fragile to risk the irreparable damage that would be caused. We respect the significance of the UNESCO Biosphere reserve and the Ramsar wetlands that support and sustain migratory birds and many other interconnected forms of life.

The COVID times we are living through have heightened our perceptions of what matters most and how interconnected we all are. The economic imperative is not the main narrative here. It is life itself and our collective responsibility to care for it. Wendell Berry has a version of the golden rule that applies in this situation.

‘Do unto those downstream as you would have those upstream do unto you’, he writes. ‘Whether we and our politicians know it or not, Nature is party to all our deals and decisions, and she has more votes, a longer memory, and a sterner sense of justice than we do.’

We will be including links to these films and songs in our written response to the Environmental Effects Statement and the call for submissions which is open and receiving submissions until August 26.

Here are links to three of Terry’s films which contain songs from the Western Port Bay Song Cycle, (below).

‘Blessings’ is a call for justice and a song of love for Western Port Bay. It recognises the future impact of decisions being made about the proposed AGL Regasification Plant in Western Port Bay and appeals to the best in everyone involved.

‘No Way’ features members of our local community as well as choir members from the Climate Calamity Choir, led by Jane Coker and the Melbourne Climate Choir, led by Jeannie Marsh. Both choirs collaborate on environmental actions, drawing together members from different choirs from Gippsland, Melbourne and beyond. They have developed innovative ways of facilitating and recording virtual choirs.

‘Time to See’  focusses on the significance of Western Port as a Ramsar site. Inverloch-based community musicians Lyndal Chambers and Brian ‘Strat’ Strating have added recorder and accordion to the song. Drone footage of Queensferry Jetty and the Bass River taken by Mick Green has also been incorporated into the film.

WESTERN PORT BAY SONG CYCLE
Here are SoundCloud links, descriptions and lyrics of the seven songs in the Western Port Bay Song Cycle.

1 Time to See 
Migratory birds enlarge our worlds. They connect us to places across the planet and to those who share our love for them.

2 Flowing On
Everything is interconnected. The past flows into the future, carrying the memories and the stories of the living beings who have preceded us.

3 No Way
Some things in life are so precious, they are priceless. The AGL’s proposed gas facility in Western Port Bay highlights the question of what we value most.

4 Beautiful Bay
Clean water is central to all of life, everywhere. It is the source of life. There is a Slovakian proverb which says, ‘Pure water is the world’s first and foremost medicine’.

5 Taking a Stand
As we witness the damage being done to the Earth, we are all diminished. We experience the sense of loss and it is profound.

6 Out on the Bay
Life has its own rhythm. The seasons and the cycles of the natural world keep it steady and balanced.

7 Blessings
We are in relationship with Country. First Nations people around the world wait for us to listen and learn and so does the Earth.

We are sharing these films and songs with the community and with decision-makers as an act of hope and in solidarity with the natural world. In Albert Einstein’s words, it is time to ‘widen our circle of compassion to embrace all living creatures and the whole of nature and its beauty.’

We warmly encourage you to take your place in this widening circle of compassion and to raise your voices on behalf of Western Port Bay.

-Laura Brearley. Photographs by Terry Melvin

You can find out more about the Save Western Port Bay campaign at …
https://savewesternport.org/
https://environmentvictoria.org.au/campaign/stop-agls-dirty-gas-plan-for-our-bay/
https://vnpa.org.au/protect-action/save-westernport-bay/

Submissions are going to be reviewed by an Inquiry and Advisory Committee, led by the Victorian Planning Minister Richard Wynne. A directions hearing will be held on September 17, followed by a public hearing starting on October 12 which is likely to run for eight weeks.

 

Pumping Out Songs with the Cann River CFA Community Choir

“I really only work through the arts, and I think that community resilience and bonding and all of those things can come through the arts.” This conviction combined with a natural ability to strategise and inspire people has led Margaret Summerton to find herself holding a position of responsibility for CFA Volunteers and Sustainability across the South East Region of Victoria; an area of the State covering 2 million hectares, from Bairnsdale to Mallacoota, Omeo to Lakes Entrance. This region was hit hard by the devastating bushfires, last summer.

“It was burnt to a crisp here, 60% of our land mass was burned and as happens with bushfires and disasters we continue to be heavily affected in so many ways.”

When Margaret applied for the role a year ago she wasn’t sure that her arts-based approach and style of delivery would be compatible or aligned with a paramilitary organisation.

“After a few weeks in the job, I walked into the District Manager’s office and said that we needed really needed to start a choir! He was speechless and looked at me like WHAAT? and I said, ‘no, let me explain!…’ ”

Margaret’s reasoning was while you are singing for an hour and a half, you are not thinking of your problems. “You are not thinking of how your dog needs to go to the vet or how your car has broken down, you are thinking about singing, and you’re thinking about breathing, and you’re thinking about listening to each other…you are thinking about the music -just that, I mean just totally that!”

The District Manager listened to Margaret’s idea which she offered as part of a bigger strategy plan that included how the arts can activate their stations. After hearing her out, he simply said. ‘I love to sing’.

“That surprised me! Then I asked him ‘how do you feel when you are singing?’ And he said, ‘I feel great!’ and I said ‘of course you do!’ ” And almost on the spot, the Cann River CFA Community Choir idea was launched as a vital part of a bigger plan to promote positive health, healing and well-being within the brigade and community.

The Cann River CFA Community start-up choir now has seven members; the singers are comprised of CFA volunteers, a member of Bushfire Recovery Victoria, and locals working with the Bush Nurse, a sculptor and retirees. In addition to providing an opportunity for first-responders to come together for mutual support, connection and an escape from the demands of their roles, it’s truly a community choir and that’s the primary aim. Since June, the group has met weekly for a sing in the brigade shed, with a repertoire ranging from Talking Heads to Janice Joplin.

“Anyone can join and that’s been great. We have seven people who come every Thursday night, who just sing their guts out, which is wonderful, just wonderful.” The choir keeps in contact during the week via the Community Centre’s Facebook page. During the week the posts fly with happiness. Margaret’s favourite post to date is “Christmas has come early, and it’s in the form of a choir!”

The CFA Choir is run with funding support from Regional Arts Victoria and the Australian Government Regional Arts Fund to support its director, Cindy Parrett.  “Cindy is fabulous, an ex-Cabaret singer who teaches singing and music at the local P-12.”

Sometimes things are just meant to be, even in these COVID affected times, and when Margaret collided with Cindy, it was a case of the stars aligning.

“It was an extraordinary coincidence, I had just started at the CFA, and my choir idea was bubbling along. I was visiting the town quite often, meeting all the community leaders; the high school principal, the community centre manager; who I got to know quite well. I was in a meeting with the high school principal that has been at the P-12 for 40 years, and every year he has written an original play for the school with a role for every single child.  He’s phenomenal.  I told him how I was wanting to start a choir in the CFA shed, and he said, “Well fancy that! I have just hired a singing teacher for next year”.  It was destiny.

Fast forward to June and being in a remote part of the state not affected by lockdowns or too many restrictions, the singers were able to meet weekly. “We’d take our temperatures, sanitise our hands, and stand at a distance. But once the second wave took over; it didn’t feel healthy to be singing behind a mask. We had no choice but to postpone.” The choir is currently in hiatus, and this breaks Margaret’s heart.

“I am madly in love with this choir, and I know that they are just super sad that they can’t do it right now.”

Margaret has been driving two hours each way to sing with the Cann River CFA Community Choir, and together with her partner sings all the way home into the darkness; not just because it is her baby, but because she has always been in a choir and she loves singing.

“Getting people together to sing, bonds us in some weird way, I mean it doesn’t matter what walk of life you are coming from, once you are singing it transcends everything else. It’s fundamental and it feeds your soul on so many different levels and I’m so glad that the District Manager of the CFA understood that. I mean, if he hadn’t, I don’t think any of this would have happened.”

For information about how you can join the Cann River CFA Community Choir, contact Margaret Summerton: Margaret.Summerton@cfa.vic.gov.au

By Deb Carveth, online editor for Community Music Victoria, in conversation with Margaret Summerton,

Connecting Through Music in COVID Times

“At a time when many people are feeling isolated and disconnected, it is an important reminder that we are going through this experience together. There are many ways we can be here for each other and connect, even across distance.” – Laura Brearley

Something wonderful and ridiculous took place a few weeks ago during the depths of the first COVID lockdown. Community music leaders from Inverloch, Lyndal Chambers and Brian ‘Strat’ Strating, brought people together from far and wide and led a Virtual Street Band Parade. It was colourful, joyful and totally absurd.

Normally, at the end of May, Community Music Victoria (CMVic) hosts a Music Camp at Grantville. People of all ages and levels of musical ability come together for a weekend of music-sharing, workshops and performances. The Music Camp always culminates in a Street Band Parade in which people dress up, play music and parade their way around the camping ground.

The times we live in are far from normal, and so this year, the CMVic Music Camp was conducted on-line. Up for the challenge, Lyndal and Strat led the Street Band Parade in front of a computer screen in their lounge room.  The experience broke through the two-dimensions of Zoom with its small boxes of seemingly disembodied faces. It was a testament to their years of experience leading Street Bands down real roads, that they were able to pull it off. It also revealed the sense of fun in the community and their willingness to experiment playfully in the virtual world. Most of all, it demonstrated the power of music to bring people together.

Lyndal and Strat have long understood this. Generosity and warmth have been underpinning principles of their community music practice throughout their lives.

‘Music is the universal language’ says Strat. ‘Music touches us in the heart and so then we connect. It’s about the access and welcome, the inclusivity of making music together.’ Lyndal also believes that music is a unifying force. ‘Music ties people together’, she says. ‘Music brings a sense of joy and life and connection.’

Lyndal and Strat in action as part of Grantville Online

Even against the backdrop of the suffering and sorrow of the pandemic, an experience like this reminds us of our resilience and our capacity for joy. At a time when many people are feeling isolated and disconnected, it is an important reminder that we are going through this experience together. There are many ways we can be here for each other and connect, even across distance.

In the words of the nineteenth century English novelist, George Eliot ‘What do we live for, if it is not to make life less difficult for each other?’

Terry Melvin’s short film ‘The Extraordinary Virtual Street Band Parade’ can be seen below and on the following links:

On Vimeo  https://vimeo.com/437745509
On You Tube https://youtu.be/_L1AZw6HYnc

Written by Laura Brearley; Photographs by Laura Brearley