Perfect Beat <p><em>Perfect Beat</em> first appeared in July 1992 and has been published by Equinox since 2009. <br />The journal's name derived from Afrika Bambaata and the Soul Sonic Force's 12-inch, 1983 single <em>Looking for the Perfect Beat</em>. As befits a journal originating in Australia, the journal remains focused on the popular music of the 'Pacific rim' and includes historical and contemporary studies with contributions invited from popular music studies, musicology, cultural studies and ethnomusicological perspectives. <a href="">Read more about this journal.</a></p> en-US <p>© Equinox Publishing Ltd.</p> <p>For information regarding our Open Access policy, <a title="Open access policy." href="Full%20details of our conditions related to copyright can be found by clicking here.">click here</a>.</p> (Shelley Brunt and Oli Wilson) (Ailsa Parkin) Sat, 28 Aug 2021 18:09:45 +0000 OJS 60 The impact of COVID-19 on music venues in regional South Australia <p>As spaces of social, cultural and economic production, small regional music venues are an under-explored research area that can offer insights into changing music and performance practices, place-making, and the connections between urban and regional communities. Within the context of the COVID-19 crisis, the state of precarity in which such venues operate is emphasized and exacerbated. This article will present preliminary findings from our case study of a small, regional music venue in the mid-north of South Australia that has been heavily affected by the COVID-19 pandemic and associated government restrictions. The pandemic has dramatically changed the way that live music is both performed and experienced, and a case study such as this offers an opportunity to discuss its impact on niche cultural and community spaces that are geographically and socially removed from the urban milieu and its policy settings. Preliminary findings suggest COVID-19 brought about both challenges (capacity restrictions and disruption of interstate travel for audiences and artists) as well as opportunities (strengthening the presence of rural voices in policy settings). The case study also highlights the need for further research on strategies for developing and sustaining regional touring pathways throughout South Australia. </p> Rosie Roberts, Sam Whiting Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 I lost a gig ‘pero ok lang’ <p>The COVID-19 pandemic has affected the entertainment industry globally, yet little is known about the experiences of migrant musicians during this crisis. Drawing from interviews with Filipino musicians in Australia, this article considers the pandemic’s impacts on this migrant group and the ways in which they demonstrate resilience through their social and cultural capital. Their physical and virtual networks as well as skills in music and other ventures allow them to respond to the precarity connected with their translocal experiences as migrant musicians and skilled labour migrants during the pandemic. Nonetheless, this resilience is dependent on individuals’ particular economic, social and personal circumstances. Recognizing the case of Filipino musicians in Australia leads to a rethinking of potential policy implications on particular struggles facing migrant musicians in Australia during the pandemic crisis.</p> Carljohnson Anacin Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 ‘It Was COVID-19’ <p>In this article I interview musician and songwriter Keir Nuttall about his experiences during the COVID-19 pandemic. Nuttall reflects on a number of key professional and personal issues that have affected his work and everyday life, starting with a discussion of his parody song ‘It Was COVID-19’, based on the song ‘I Was Only 19’ by Redgum. Nuttall discusses the role that the song played in coming to terms with the pandemic, and the reaction from the song’s original writer John Schumann. Nuttall reflects on how cancelled performances and opportunities have impacted his life as a creative professional, including cancelled tours and the postponed Broadway development of Muriel’s Wedding: The Musical, the musical that he wrote with his wife and creative partner Kate Miller-Heidke. Finally, Nuttall discusses how the lockdown in Melbourne and enforced periods of interstate quarantine have affected his creativity, his family life, the impacts on the broader music industry, and some of the rewarding personal and musical experiences that have also arisen at this time.</p> Gavin Carfoot Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Being a DJ in a time of zero social huddling <p>The COVID-19 pandemic has caused widespread disruptions in music industries globally, resulting in rapid cancellations of music festivals, concerts and club nights, and closure of international borders. The consequences of this pandemic have been especially dire for musicians, DJs and event promoters whose livelihoods and financial viability were tied largely to live performances. Within the independent music scenes in India, artists and event organizers rushed to social media and livestreaming platforms in their attempts to salvage brand visibility and explore monetization opportunities as drastic impositions of nationwide lockdowns came into effect. In a densely populated developing country rife with anxieties over exponential rates of COVID-19 infections, independent musicians in India have sought creative approaches to maintain visibility through digital platforms. Drawing on methods influenced by online ethnography, this article presents a discussion of how four professional Indian DJs explore and interrogate the affordances of various social media and livestreaming platforms in their efforts to remain artistically visible in the absence of state-initiated financial support and socially huddled dance-floors. The article offers insights into the triumphs, and trials and tribulations, experienced by independent musicians as they explore the material affordances of digital platforms at this critical moment in history.</p> Pradip Sarkar Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Standing in/out <p>As the first country to experience the outbreak of COVID-19, China’s music industry reacted quickly to the change of the musical context. On 10 March 2020, China’s biggest music company Tencent Music Entertainment Group announced the launch of its music livestreaming concert brand—TME Live. It is understood that through its online live concerts, TME Live uses multi-scenario, innovative performance and digital audio-visual technology to create a panoramic environment for online musical performances, through which TME Live connects musicians and communities of fans. Through this model, Tencent Music Entertainment Group provides musicians with a full range of services, including customized performance styles and an immersive performing experience. Without the impact of Western dominated social media, China’s online music streaming platforms have developed their own biopolitical logics and characteristics in building up online music community and data connectivity. With the case study of TME Live, this article sets out to investigate how China’s major online music streaming platform survives, transforms and adapts in light of the COVID-19 pandemic.</p> Weida Wang Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Riffing on course redesign <p>In this article, I riff on redesigning music education for online delivery from the perspective of an ethnomusicologist and teacher working as an educational developer during the COVID-19 pandemic in Australia. I explore how the affordances and limitations of remote learning and online technologies impacted the pedagogical approaches I use to design music courses in tertiary education. Issues such as the applicability of curriculum to students’ working life and active learning have become pertinent to teaching and learning scholarship over the last two decades. Over the last year, these issues were placed under further scrutiny, and calls have accelerated for re-examining strategies that build foundational skills and embrace more active learning design. For music teaching, this poses a unique opportunity to make courses more relevant to our students and create improved social outcomes for music education. However, adapting courses also presents a significant challenge in converting pedagogy to be sustainable in the current tertiary education sector. I reflect on educational developments that can enhance university music teaching through the benefits of technology and pedagogy that improve student learning.</p> Benjamin Phipps Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Hitchhiker’s guide to reality <p>In this article we explore a collaborative interdisciplinary Theatre and Music production as part of two undergraduate courses at the University of the Sunshine Coast, Australia, during COVID-19. Tertiary intuitions all over the world are currently being forced to adapt in radical response to the pandemic. The specific conditions of the authors’ experience prompted this collaboration where both teaching and learning occurred in an unstable, unpredictable and unprecedented environment. Experiences during the semester and the outcomes of the project were rich, multifaceted, and exceeded expectations. This included several weeks of intensive collaborative rehearsal and creative development, university-facing performances, and a public-facing performance at a NightQuarter event which had over 4,500 attendees. This article unpacks the ideas of Project-Based Learning (Bell 2010) and interdisciplinary collaboration, in order to understand the impact on teaching and learning and the potential of this model.</p> Briony Luttrell, Hannah Joyce Banks, Andy Ward, Lachlan Goold Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Seeking the live <p>Onaji jikan, onaji kukan. Same time, same place. These are the words I wrote down in an interview this summer—ironically a Zoom interview that took place both at 9 am in Oxford and 5 pm in Osaka. Needless to say, this was not the fieldwork I planned when I began my PhD in 2018, although in some ways it feels fitting for a thesis on digital technologies and the ‘live’. Yet today I remain, like many of my peers, so far behind, so ‘late’, that catching up seems almost impossible. In this article, I reflect on the importance of shared time and place, not only in Japanese ‘live culture’, but also in my experience of the pandemic as a postgraduate student.</p> Alice Rose Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Virtual shakuhachi with dai-shihan Michael Chikuzen Gould <p>Virtual learning environments have become commonplace in the midst of COVID-19. Although it was not unheard of, taking Skype lessons on a musical instrument was considered to be unusual ten-plus years ago. This article will briefly discuss the ways in which the pandemic has affected those who study shakuhachi online with dai-shihan (grandmaster) Michael Chikuzen Gould. While individuals and institutions continue to figure out how to navigate this new cyber context, virtual shakuhachi lessons with Sensei Gould continue as scheduled and remain unaffected as in-person workshops and intensives are cancelled until further notice.</p> Sarah Renata Strothers Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Editorial introduction Oli Wilson, Shelley Brunt Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000 Pre-existing conditions <p>Prior to 2020, while the music industries in the Australian state of Victoria were gaining in strength and were world-renowned in many respects, they were also characterized as a sector that runs largely on luck and public good will, where many places that had previously offered some security were eroding. This luck ran out in a spectacular fashion with the arrival of the COVID-19 pandemic. This research, based on surveys and interviews conducted during the extended Victorian lockdown, describes the experiences and responses of music workers across the sector to the COVID-19 pandemic. Mark Banks’s concept of ‘creative justice’ is used to examine how the precarious nature of much music-related work prior to COVID-19 created a situation where workers were acutely vulnerable to a crisis of this nature, and where the harms they experienced during this time were compounded by how precarity positions them both financially and discursively. The understanding of precarity as a pre-existing problem in the industry discussed here makes it clear that although the pandemic was experienced as an unprecedented and unique event, the impact that it had on many in the music industries represented an exacerbation and continuation of already-existing issues. Suggestions from participants about how they can be supported in a rebuilding music sector show that questions of justice are forefront in their minds, and should be considered in decisions around rebuilding to prevent talent loss and maintain a diverse music scene.</p> Catherine Strong, Fabian Cannizzo Copyright (c) 2021 Equinox Publishing Ltd. Sat, 28 Aug 2021 00:00:00 +0000