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Classical music in Australia
The earliest western musical influences in Australia can be traced back to two distinct sources: in the first settlements, the large body of convicts, soldiers and sailors who brought the traditional folk music of England, Wales, Scotland and Ireland;〔For more information, see Warren Fahey's essay ("Australia and Its Traditional Music" )〕 and the first free settlers, some of whom had been exposed to the European classical music tradition in their upbringing. Very little music has survived from this early period, although there are samples of music originating from Hobart and Sydney that date back to the early 19th century.〔Oxford, A Dictionary of Australian Music, Edited by Warren Bebbington, Copyright 1998〕
==History==
The establishment of choral societies (c. 1850) and symphony orchestras (c. 1890) led to increased compositional activity, although most Australian classical composers of this period worked entirely within European models and many undertook their training in composition in Europe or the United Kingdom. One of the earliest known composers was George Tolhurst, whose oratorio ''Ruth'' was the first composed in the then colony of Victoria in 1864. Some works leading up to the first part of the 20th century were heavily influenced by folk music (Percy Grainger's "English Country Gardens" of 1908 being a good example of this).〔 An estimated 10,000 Australians and New Zealanders traveled to Britain each year from the late 1880s to the early 20th century, and the number doubled between the World Wars. A majority was likely female, often a musician; in 1907 one commentator said that Australia's principal exports to Britain were "frozen sheep and pretty-voiced girls". Success in London was often seen as a prerequisite for fame in Australia for singers such as Nellie Melba, Amy Sherwin, and Ada Crossley.
From the time of Australia's Federation in 1901, a growing sense of national identity〔Allen & Unwin, Elder, Catriona. Being Australian: Narratives of National Identity, Copyright 2007〕 began to emerge in the arts, although a patriotic attachment with the "mother country"〔 As Elder said of this relationship,"... a country Australia was obliged to help and which in turn would help Australia." (p. 11)>〕 or "Home", that is Britain, and the Empire, continued to dominate musical taste. In the war and post-war eras, as the Australian national identity continued to build, composers looked to their surroundings for inspiration. John Antill in his ballet ''Corroboree'', Peter Sculthorpe and others began to incorporate elements of Aboriginal music, Richard Meale drew influence from south-east Asia (notably using the harmonic properties of the Balinese gamelan), while Nigel Butterley combined his penchant for International modernism with an own individual voice.〔
By the beginning of the 1960s other strong influences emerged in Australian classical music, with composers incorporating disparate elements into their work, ranging from Aboriginal and south-east Asian music and instruments, American jazz and blues, to the belated discovery of European atonality and the avante-garde. Composers like Don Banks, Don Kay, Malcolm Williamson and Colin Brumby epitomise this period.〔 Others who adhered to more traditional idioms include Arthur Benjamin, George Dreyfus, Peggy Glanville-Hicks and Robert Hughes. In recent times composers including Julian Cochran, Gordon Hamilton, Liza Lim, Nigel Westlake, David Worrall, Graeme Koehne, Elena Kats-Chernin, Carl Vine, Brett Dean, Martin Wesley-Smith, Georges Lentz, Richard Mills, Ross Edwards, Stephen Leek, Matthew Hindson and Constantine Koukias have embodied the pinnacle of established Australian composers.
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