WELCOME TO APrap…

WELCOME TO APrap…
I t ’s been a busy few months at APRA as the 75th
a n n i v e r s a ry celebrations encompassed the 2001
APRA Music Aw a rds and the inaugural APRA
P rofessional Development Aw a rds. We have details of
both those major events within the pages of this issue
of A P r a p. You’ll meet the seven inspiring young
recipients of the Professional Development grants
and discover how these encouragement awards will
enhance their burgeoning careers. As Australians’
ears are still ringing with the sounds of “Friday On My
Mind,” we’ll share some of the highlights of the APRA
Music Aw a rds and if you haven’t already seen the
results of the poll to decide Australia’s Ten Best
Australian Songs of the past 75 years, you can find
the list on page 13, along with all the Aw a rds re s u l t s .
In this issue we are profiling internationally acclaimed
film composer David Hirschfelder, as well as two
composers at the cutting edge of new music – Liza
Lim and Matthew Hindson. We dip into the history
books again for another look back at the early days of
APRA, and in latest developments on the copyright
f ront, we provide a guide to provisions of the Moral
Rights Amendments to the Copyright Act on page 15.
Nominations are open for three positions on the APRA
B o a rd this year – two Writer Directors (one Australian,
one New Zealander) and one Publisher Dire c t o r.
Details for submitting nominations are on page 15.
Thank you for all the positive feedback on the newlook
A P r a p. Your comments are always welcome, so
write to us at Locked Bag 3665, St Leonards NSW
1 5 9 0or email k ru g @ a p r a . c o m . a u
contents:
1 WELCOME
1 CONTENTS
2 TO THE POINT
2 APRA’S NEW CORPORATE LOOK
3 FROM THE APRA ARCHIVES
5 COMPOSER PROFILE
– David Hirschfelder
7 COMPOSER PROFILE
NEW MUSIC – Liza Lim
8 COMPOSER PROFILE
NEW MUSIC – Matthew Hindson
9 APRA PROFESSIONAL
DEVELOPMENT AWARDS
11 2001 APRA MUSIC AWARDS
14 INTERNATIONAL NOTES
– visiting societies
14 APRA AND SOCOG
15 MORAL RIGHTS LEGISLATION
15 NOMINATIONS FOR APRA BOARD
16 TED MULRY BENEFIT
16 MUSIC MONEY & SUCCESS
17 WHAT’S HAPPENING
20 SCREENRAP
20 SONGWRITER SPEAKS
– Neil Murray
21 INTERSTATE UPDATE
B rett Cottle, CEO, APRA
In the countdown to the coming Federal election, the major parties will be
looking closely at their arts and information policies.
On its own account, and through our involvement with the National Copyright
I n d u s t ry Alliance, APRA will be seeking a more prominent role in policy
f o rmulation.
In APRA’s view the priority issue for copyright policy is the urgent need for a
private copying compensation scheme. Such schemes – which involve a system
of levies on either or both blank audio media (for example, re c o rdable CDs) and
audio re c o rding devices – are now in place in 41 countries, including the US,
Canada and most EU member states.
In Australia a scheme was introduced in 1989, but found in 1993 by the High
C o u rt (in a 4 to 3 decision) to be unconstitutional on narrow and technical
g rounds. The constitutional problems can be overcome, and politically, the
scheme has traditionally had bipartisan support .
With the advent of aff o rdable CD burners - including dual deck re c o rders – and
the open invitation of advertisers to “rip and burn,” an approach based on equity
and practicality is more important to copyright owners now than ever before. We
need firm commitments and urgent legislative action.
APRA’S new corporate look
After the coming together of the two associated
companies – APRA and AMCOS – a new
corporate identity has been created to
consolidate the group and to update our
corporate image.
Those of you who were present at the APRA
Music Aw a rds would have been the first to see
the new logo on the screens around the
P a v i l i o n .
The design revolves around several elements: a
q u a v e r, a sine wave, an 'A' for APRA/AMCOS,
and a full note/CD disk – all combined to hint
at electronic transmission.
We have kept with the original colour as the
base and moved into a more contemporary
colour in orange to modernise our look.
You can expect to see more of the new
corporate look over the coming months fro m
our stationery through to our electronic media.
2

During this, APRA’s 75th anniversary year, we are featuring a series of articles on APRA’s history.
The material that follows - relating to the early days of broadcast licensing and the 1932 Royal
Commission - is extracted from an account compiled by past APRA Chief Executive, John Sturm a n .
During the year 1931 a number of changes in the control and
conduct of what was then called the “A Class” Bro a d c a s t i n g
Stations in Australia and New Zealand were forecast. In
England the Government Committee on Broadcasting had
recommended, on the expiration of the licence held by the
BBC, that the Service should be placed in the hands of a
Corporation and in the following year such a Corporation was
constituted under Royal Chart e r. The proposals in Australia and
New Zealand were along similar lines and were to take effect in
New Zealand on the 1st January 1932 and in Australia on the
1st July of that same year. In due course these arr a n g e m e n t s
became effective and APRA conducted negotiations in both
countries for the granting of the appropriate licences.
As re g a rds commercial broadcasting APRA had been
negotiating with the Australian Federation of Bro a d c a s t i n g
Stations to complete new licences in place of those that had
e x p i red at the end of the previous year. This matter had
p resented no little diff i c u l t y, however, and APRA had done its
best to come to arrangements that would be acceptable for the
whole group of stations. Federal Ministers and Officials had
displayed much interest in the subject and had been kept
a w a re of what had been passing between the two parties. At one
stage it seemed that it would not be possible to conclude
a rrangements with the Federation and that negotiations would
have to be conducted with each station as a separate unit but,
h a p p i l y, that problem was overcome. The Federation appointed
two delegates to confer with the APRA Board and this re s u l t e d
in a speedy exchange of ideas and the conclusion of
a rrangements to embrace all commercial stations operating
t h roughout the Commonwealth.
The principle of payment on the basis of a fee per perf o rm a n c e
was maintained on a sliding scale for stations divided into five
g roups selected by the Federation itself. The latter expre s s e d
a p p reciation of APRA’s acceptance of the revised schedule and
the feeling of confident expectation that harmonious re l a t i o n s
would continue. In pursuance of this general policy Federal
Ministers and Officials who had, as mentioned, been intere s t e d
in the subject were notified that a settlement had been re a c h e d .
The New Zealand Broadcasting Board had come into existence
by this time and agreement was concluded in the granting of
APRA licences at the same rates as had been awarded to APRA
under the terms of the Copyright Te m p o r a ry Amendment Act.
Notwithstanding these harmonious relationships with users,
APRA still received enquiries from the Federal members of
Parliament asking for information as to the Association’s
constitution, methods, scale of fees etc, and these requests for
i n f o rmation were undoubtedly inspired by parties who were
hostile to APRA over the latter’s demand that a licence be taken
out when its pro p e rty was being utilised. Unfortunately eff o rt s
to placate the parliamentarians and to give them a better
understanding of APRA’s role generally were not altogether
successful and the Attorney General ultimately proposed the
appointment of a Commissioner to hold an inquiry into all
aspects of perf o rming right. His proposal was that the enquiry
should embrace not only the rights exercised by APRA but also
k i n d red matters where there was also misunderstanding.
A P R A’s views were of course invited on this proposal and the
Association took the stand that such an inquiry would be
welcome. This was accompanied by assurances that APRA
John Sturman
would render fullest assistance and
i n f o rmation at its disposal confident
in the knowledge that the
p roceedings would be the means
of completely vindicating its rights.
Indeed it was felt to be the best
way to remove misunderstanding
and establish the matter in its
p roper perspective for all time.
The minister’s re c o m m e n d a t i o n s
w e re accepted by Cabinet and
Parliament confirmed the appointment
of His Honour Sir Owen Lang
KC as a Royal Commissioner.
The Royal Commission held its first meeting in Sydney on
September 23rd 1932 with Mr J H Keating having been
appointed as Counsel to assist the Commission and Mr F J
McKenna of the Prime Minister’s Department acting as Secre t a ry.
The scope of the proceedings is shown by the fact that sixty
witnesses gave evidence, several of them on a number of diff e re n t
occasions re p resenting all classes of users of music and, of course,
including witnesses on behalf of APRA, re c o rd manufacturers and
owners of dramatic rights. The sittings occurred almost daily until
the end of the year and they were resumed in Febru a ry 1933 and
concluded at the end of the following month.
On April 24th April 1933 the Commissioner made his re p o rt to
the Governor General and the following brief re f e rence to APRA
will indicate the attitude that was adopted by the Commissioner
t o w a rds the Association:
“The necessity for the existence of such a body as
the Perf o rming Right Society (England) and the
Australian Association has on more than one
occasion been recognised by the courts and the
objects and purposes of such a body have been held
to be in all respect legitimate. Under pre s e n t
conditions it is impossible for individual owners of
copyrights to adequately protect their rights and
i n t e rests throughout the world.
No author, composer, publisher or other owner of
copyright has made any suggestion or complaint that
the Association has failed to account fairly and
p roperly for moneys collected. It seems impossible
to assess in money the value of a musical work. Any
valuation must depend on demand and must to an
extent be arbitrary.
To assess the value of a perf o rming right in money is
even more impossible; it can only be done by
arbitrarily fixing the fee.
One result which should follow the pro c e e d i n g s
b e f o re this Commission is the clearing away of
misunderstanding and misconception in the minds
of many users of music and of a large part of the
community as to the bona fides of the Australasian
P e rf o rming Right Association and its methods of
conducting its business.
The evidence has satisfied the Commission that on
the whole the Australasian Perf o rming Right
Association carries on its business on sound lines, is
managed by capable and reasonable men, pro t e c t s
to the best of its ability the interests of the copyright
owners it re p resents, accounts, as best it can, to
those whose money it collects, and attempts to
a ff o rd information to those who use or seek to use
the music it claims to contro l . ”
The Commission, on concluding its re p o rts, suggested that a
p ro c e d u re be adopted for voluntary arbitration where any
dispute arose upon the rates and methods of payment or the
t e rms and conditions between owners of copyright and literary
dramatical musical or other works or manufacturers of re c o rd s
or persons or any body of persons wishing to use the works or
their re c o rds for public perf o rmance. The Copyright Act of
1912 was subsequently amended in order to take into account
these specific re c o m m e n d a t i o n s .
An early APRA Annual General Meeting
4

David Hirschfelder receiving his APRA award for Best Film
Score “Better Than Sex”. Photo: Tony Mott
David Hirschfelder with American film composer John
Williams at the ASCAP Film and Television Music Awards in
Los Angeles last April.
The day after the APRA Music Aw a rd s ,
David Hirschfelder was far from gloating.
He had picked up his third APRA Aw a rd
for Best Film Score – this time for the
quirky Australian comedy Better Than
S e x – and was talking about his latest
p roject, the score for K - 19 : T h e
Wi d o w m a k e , rwhich stars Harrison Ford
and Liam Neeson. But a chief concern
was that he would still fit in, belong, in
the Australian film industry.
“I’m waiting for that call, guys, I’m
h e re. Don’t forget me. If you’re out
t h e re, please don’t forget my number.
D o n ’t lose it – I’m still here ! ”
Was his tongue sitting comfortably in his
cheek? Not even slightly. Rather than
basking in the glory of another major
accolade, Hirschfelder was humble.
“I’m aware of the ever- p re s e n t
potential of the tall poppy syndro m e .
T h a t ’s the way Australians are, and I
d o n ’t knock that – I’m an Australian,
too,” he says. “I think there ’s a cert a i n
no-bullshit factor in Australia that
p revails, which I think means that
when you do get recognition from your
peers, it’s a very special feeling.
Especially when the peers are musical
fellow writers and publishers. It’s nice
to get the recognition on your home
t u rf and to still be recognised and not
written off just because I do – let’s
face it – work a lot overseas.”
He has recently taken on the mantle of
National President of the Australian
Guild of Screen Composers, re i n f o rc i n g
his commitment to the industry that
n u rt u red him and launched his
i n t e rnational care e r. BAFTA Aw a rd s
(for Strictly Ballro o m and E l i z a b e t h) ,
Academy Aw a rd and Golden Globe
nominations (S h i n e and E l i z a b e t h)
and credits on films such as S l i d i n g
Doors, Hanging Up and Weight of Wa t e r
(to be released this September starr i n g
Sean Penn and Elizabeth Hurley) are
balanced against the satisfaction and
sheer delight of working on something
like Better Than Sex.
“It was a breath of fresh air, it re a l l y
was. I thoroughly enjoyed doing
Strictly Ballro o m for the same re a s o n
I enjoyed doing Better Than Sex,
and that’s that in both scores
t h e re ’s a deliberate intention not to
gush emotionally, and to hide the
depth of the emotion in a twee, fun
musical soundscape rather than be
deliberately emotional. The emotion’s
t h e re, but it’s subtle, and it’s hiding in
fun. And that’s what the film
Better Than Sex is about;
it’s about how a fun,
seemingly shallow experience
is actually cloaking a very
p rofound experience. That’s
what I was trying to mirro r
with that music.”
Hirschfelder’s attraction to
complex and sophisticated p ro j e c t s
meant he was destined for the world
stage. With a crude pro g r a m m a b l e
e l e c t ronic organ given to him by his
f a t h e r, the young classically trained
Hirschfelder knew, in the guitarinfluenced
1970s, that music, and
p a rticularly keyboard-driven music,
was his vocation. His first composition,
at the age of 13, was “a little piano
ditty” inspired by his first experience of
hearing Dave Bruebeck. By the age of
16 he was writing a jazz piece for piano
and flute. Everything he composed was
written on paper, but what appealed
about jazz was the opportunity for
i m p rovisation while perf o rm i n g .
“I recognised that composition is in
many ways an act of editing those
i m p rovised ideas or those inspire d
sparks, editing them and compiling
them and crafting them into
something a little more stru c t u re d .
Jazz really appealed to me – and then
I discovered rock and roll and the
power and the guts of that.”
Led Zeppelin was striking to the
young Hirschfelder. “I could hear an
o rchestral link; I could hear actually
bits of Prokofiev and Beethoven, the
intensity of the riffs, and even bits of
Stravinsky sometimes. I could hear
the angular 20th century orc h e s t r a l
g e s t u res and there was a kind of a
depth to it that really appealed to me.
And again, guitar-driven, but the
electric guitar, when it’s in the hands
of a maestro like Jimmy Page, can
sound like an orchestra. I liked the
intensity and the modernness of that.
As a young person I identified more
with those sounds than a lot of the
c o n t e m p o r a y rclassical music, although
I must admit I loved ‘The Rite of Spring’
as soon as I heard that.”
He had his own jazz group, Pyramid,
which played at the Montreux Jazz
Festival, and he was developing a
niche in jingle writing, but with the
advent of 1980s synthesiser- o r i e n t e d
music, Hirschfelder took the pop
route. He admired The Reels, The
Models, The Thompson Twins and
English techno-pop artist Thomas
D o l b y. “While I was in Little River
Band, touring in ostensibly a harm o n y -
driven guitar soft rock band – and it
was a lot of fun and they were gre a t
musicians – I was secretly wanting to
“ I t ’s nice to get the recognition
on your home turf and to still
be recognised and not written
o ff just because I do – let’s face
it – work a lot overseas.”
be in something like the Thompson
Twins, or I probably would have liked
to be in a band like Real Life or even
Psuedo Echo. I was secretly wanting to
be in bands like that, but I sort of
wound up, because of where life took
me, in fairly straight pop bands which
needed big production values like Little
River Band and then John Farn h a m .
And I enjoyed all that, I enjoyed being
able to exercise my orchestration
fantasies using synthesisers to model
ideas which were really orc h e s t r a l .
“I must say now that I’ve become a socalled
composer of more serious music
or stru c t u red music, and I now have
this job where I service people’s needs
and get to write the music I enjoy
writing, I look back at perf o rming in
the pop music world and I had a ball.
And I would do it again, if the right
c i rcumstances came up.”
The path to screen composing was circuitous but constru c t i v e .
“While I was touring with those bands I had this yearning to be
a screen composer and I felt I was treading water; as much as
I was fulfilling my childhood fantasy of being in a rock band,
I’d already moved on and I was looking further ahead. But when
I look back I think it was a very lucky thing what happened to
me, because from John Farnham I learned so much about
communicating with an audience psychically. It’s a little bit of
magic that I think luckily rubbed off on me and all of us in LRB
at the time. And coupled with that I learned from Graeham
Goble about putting attention to detail.”
Hirschfelder sent out demo tapes to film producers and was
universally rejected because of his lack of scoring experience.
Finally when he was 27, journalist turn e d p ro d u c er /d i re c t o r
Ian Gillespie h e a rd the demo tape and decided Hirschfelder’s
compositional style would be perfect for the television
d o c u m e n t a ry he was making on a young woman dying of AIDS.
S u z i ’s Story set Hirschfelder’s career on the path he was
destined to take. The timing was right.
“I think being a composer for the screen re q u i res a maturity and
p e rhaps just an experience of life. Which is quite separate fro m
your ability to construct music. You may well be very gifted to
come up with melodies and may have studied at an early age the
craft of combining sounds together, orchestrating, pro d u c i n g
e l e c t ronic music – there ’s a number of ways you can be
developing your craft as a composer. But the final layer which can
only take time, and nothing can replace that, is life experience.
And so it’s having something to write about which is relevant to a
s t o ry. For example, if the story is set in the world or a mindscape
of a young person in their twenties, then I think obviously
someone that age is probably best qualified to compose for it.
“ W h e reas as you get older your experiences
get richer, you become hopefully wiser or at
least certainly more experienced. And that’s
what a screen composer is, it’s like a musical
n a rr a t o r, it’s like an emotional narr a t o r, and
you need to be able to speak fluently about
subjects which you’re well-versed. Otherw i s e
i t ’s just a series of notes which may be
c l e v e r, but perhaps don’t connect.”
While Strictly Ballro o m was the ideal first
f e a t u re for a young and perhaps brash
composer working with a young brash
d i rector (Baz Luhrmann), S h i n e was a
t r a n s f o rmational experience that took
Hirschfelder to new levels of cre a t i v i t y. “The
amazing thing is that score actually
symbolised my own transformation at a time
when I was actually being re b o rn as a
classically-oriented musician. Perhaps I’d
spent ten years being a little bit lost in term s
of identity and not being sure of who or what
I was. And when S h i n e came along and it
was a story about a man called David who
was lost and got found again later in life, in
some ways there are parallels with me. I was
35 and I realised that yes, I am a classical
musician, I’ve been running away from it and
this film has come back to remind me that
t h a t ’s what I am. I’m very proud of being
involved with Strictly Ballro o m and S u z i ’s
S t o ry, they were heartfelt projects. But S h i n e
just came along and tapped me on the
shoulder and got me back on the track.”
In terms of his personal and musical
development, E l i z a b e t h was another film
that came along at the right time. When
studying Elizabethan music at Melbourn e
University in the late ‘70s, Hirschfelder was
“totally disinterested in it.” “And yet now, I
love it. And it wasn’t until my late twenties
that I looked at what composers were doing
in that era, which was extraord i n a ry re a l l y,
and in fact I believe it’s possibly a
renaissance about to happen, a lot of
composers’ interests are rekindled again with
the Gregorian chant and with the basics of melodic writing and
then how you create antiphonal motifs, but from a modern
p e r s p e c t i v e . ”
For Hirschfelder, the dire c t o r’s vision is the most import a n t
aspect of the scoring process. “I can’t rely on my response to
the script, because I’m not guided by the dire c t o r. Nothing
succeeds in focusing me better than seeing the perf o rm a n c e s
and the visuals on the screen and that’s what drives me. I think
t h a t ’s so important. I can often get ideas and glimpses of what
I would write from the script, but I really need a time for that
to gestate, and then what’s most important is to have the film
itself wash over me because that’s what I’m working with, that’s
my collaborator, not the actual raw story. It’s the vision of the
s t o ry t e l l e r. ”
While admittedly self-absorbed and intensely focused as many
composers are, Hirschfelder welcomes opportunities for
collaboration. There is a catch, though. His collaborators might
have to be called David. And, pre f e r a b l y, their last name should
begin with the letter “H”. From David Helfgott, the subject and
inspiration for S h i n e, and David Hobson, the opera singer and
life-long friend with whom he re c o rded the album Inside This
R o o m and perf o rmed a highly ambitious concert, to didgeridoo
player David Hudson, Hirshfelder’s musical soul mates are
curiously monikere d .
“I know, it sounds narcissistic, but I assure you it’s only
coincidence,” he insists. “Karl Jung was right, we are in a synchronistic
world. It’s enough to rock your faith in agnostic’s
scepticism, re a l l y. ”
6

In 2000, Australia’s leading new music ensemble Elision
p re m i e red Liza Lim’s Chinese ritual street opera M o o n
Spirit Dre a m i n g at the Adelaide Festival. Focusing on the
Chinese myth of the moon goddess Chang-O, the set
f e a t u red a fertility shrine. Since then, six women associated
with Elision have either had or are about to have babies.
Lim is the latest, her baby due in December.
The pregnancy means that Lim – one of the most distinctive
voices in Australian new music – won’t be able to attend
p e rf o rmances of her work overseas during October and
November of which, she admits, there are “an
e m b a rrassment of riches.” On October 19 the German SWR
O rchester will pre m i e re a 20-minute orchestral work called
The Tree of Life, commissioned by South West Germ a n
Radio, for the Donaueschingen Festival.
Prior to that, the Hebbel Theatre in Berlin is presenting a
season (20-22 September) of S o n o rous Bodies, a video and
sound installation work made in collaboration with visual
a rtist Judith Wright and koto player Satsuki Odamura,
which pre m i e red in Brisbane in 1999. Then the pre s t i g i o u s
Paris-based Ensemble Intercontemporain will perf o rm
Machine for contacting the dead in Basel in November and
in Cologne in April 2002. At least Lim was at the Paris
p re m i e re in Febru a ry this year and worked with the
Ensemble several months earlier “so it was a very satisfying
p roject,” she says.
Lim eschews the computer or an instrument when
composing, pre f e rring to sit with just pen, paper and
ru b b e r. “I like the hands-on thing and I like the slowness of
it,” she says. “There ’s an element of the cerebral to it but I
also find it intensely sensual.”
L i m ’s compositions from the last five years have had a
common theme of exploring aspects of Chinese culture :
p e rf o rmance traditions and aesthetics. (She was born in
P e rth to Chinese parents and spent her early years travelling
between Australia and Brunei). “I’m moving away a bit fro m
that now and trying to distill some of those ideas into a
much more abstracted form so you can’t draw those links in
such a clear way,” she says. “But it’s taught me things
about stru c t u re and approaching sound so there has
definitely been a pro g ression in terms of the development
of a musical language. It’s been a very enriching pro c e s s
for me.”
The ideas explored in her music are also changing. A lot of
her projects to date have been about death – “not in a
morbid way but focused on the rituals surrounding death,
[looking at it] not so much as the end but as a boundary
which you can use to talk about the unknown.” Now she
finds herself interested in life, generations, cycles,
re s u rrection and redemption. She began the exploration
b e f o re she became pregnant but clearly the impending
b i rth of her child will feed into this.
In 1993, Matthew Hindson attended a perf o rm a n c e
of M a c e, for amplified acoustic guitar, which he had
written the previous year whilst studying for a Masters
in Composition at the University of Melbourne. As he
sat there he realised that the music left him cold; that
he didn’t connect with it at all. “I thought, ‘What the
hell is this? Why did I write it? This isn’t what I should
be writing music about’,” he re c a l l s .
“At the time there was a very strong emphasis on
m o d e rnism in music [at the university] and since I
was doing an academic degree I felt I had to write
academic-style music.” In the wake of the concert, he
s t a rted thinking about what sort of music he liked
listening to. “At the time it was techno and death
metal,” says Hindson. “So then I thought, ‘OK, what
is it about techno and death metal that I like?’ and I
took some of those elements and started from there .
I like music that is really in your face, really at you. I
like music to be really up.”
Audiences seem to share his enthusiasm. Hindson
has gone on to become one of Australia’s busiest,
most successful young composers. His music, which
melds contemporary popular and classical traditions
in a highly and original way, not only has audiences
regularly on their feet cheering for more but is
drawing young audiences back to the concert hall.
Not all the critics like it, but its insistent rh y t h m s ,
driving beat, ringing harmonies, dynamic sound levels
and virtuosic vigour certainly get the pulse racing so
that it’s hard not to be swept up in the aural
excitement that Hindson generates.
Hindson is currently Composer-In-Residence at
the Peggy Glanville-Hicks house in Paddington,
S y d n e y. A tall, slim, modest, unassuming young
man, the photo on his well-organised website
( w w w.hindson.com) shows him with a sweet
smile and shoulder-length hair, though this has
recently been cut giving him a “straighter” older
look. Though he draws freely on contemporary
s u b c u l t u re for compositions like R a v e - E l a t i o n,
Homage to Metallica, techno logic, In Search of
E c s t a s yand GameBoy Music, somehow you can’t
imagine him at rave parties.
The influences for his work are predominantly drawn
f rom contemporary culture. Musically, he is an
unashamed bower bird. As well as re f e rring to popular
music, he put his own spin on Schubert in his 2001
composition The Rave and the Nightingale, pre m i e re d
by the Queensland Orchestra and Goldner String
Q u a rtet in July. And he is aware that influences fro m
Ross Edwards’ music, with whom he has been
working as an assistant (and under whose superv i s i o n
he is doing his Ph.D.) are creeping into his music.
The ideas he explores range from gun use (The Power
of the Gun, AK-57. SCUD) and drug use (S p e e d, I n
S e a rch of Ecstasy) to the psychology of the serial
killer (The Rage Wi t h i n). L a m e n twas written not long
after the memorial service for the victims of the Port
A rthur massacre, while his C o n c e rto for Amplified
Cello and Orc h e s t r a, written while he was composeri
n - residence with the Sydney Symphony Orchestra in
1999 and pre m i e red in April by the SSO and Nathan
Waks (sporting tattoos especially for the occasion),
was a response to the deaths of two of his cousins.
But, emphasises Hindson, his music is not a b o u t
events, more a musical response to ideas and emotions.
“People often ask about my inspirations. We l l ,
deadlines are a good inspiration,” he says with a
chuckle. There ’s no shortage of those. Hindson has
been commissioned to write a symphony for 2003 for
the Australian Youth Orchestra, which perf o rmed his
Violin Concert o on a 17-day tour of Denmark and
L i m ’s star has been rising in Europe ever since Radio
B remen gave her her first European break over ten years
ago. These days, she is better known internationally than
she is at home in Australia. Even the Americans are sitting
up and taking note with the Los Angeles Philharm o n i c
O rchestra commissioning a 20-minute orchestral piece
f rom her to pre m i e re in 2003.
L i m ’s music is tough, sinewy and complex – seemingly
quite at odds with the composer herself who is gentle,
thoughtful, quietly spoken and unassuming although
f i e rcely intelligent. She laughs at the suggestion. “Oh, it’s
all torrid inside!” she quips before adding more seriously, “I
hope my music is many things and complex and I hope I
am as well. Certainly the part of me that isn’t so often
e x p ressed in my music is the really still, quiet part. There
a re some projects like S o n o rous Bodies, which are very
meditative and silent, but I guess my music is often big,
c o l o u rful, expressive and gestural. I think I’m able to write
that music because I can be very silent inside myself.”
Both the German and Los Angeles commissions will explore
these kinds of ideas. “I would like to think of the two works
as a diptych,” says Lim. She is deriving a great deal of
p l e a s u re from writing for such large forces. “Prior to the
Ensemble Intercontemporain piece, which was for 27
musicians, I had focused on chamber music. That has been
fantastic. You can really go deeply into an instrument and
e x p l o re in a lot of detail. It’s taken me a long time to work
out how to expand aspects of that language for a larg e r
ensemble. It’s about increasing one’s stride, to use a
physical metaphor. ”
Much of Lim’s work in Australia has been for Elision
(founded by her husband Daryl Buckley whom she met
whilst studying at the Victorian College of the Arts). Elision
is to perf o rm further seasons of Lim’s opera Moon Spirit
F e a s t i n gat the Melbourne Festival this October then in the
UK, Paris, Berlin and Japan next year. Lim intends to go too
with baby in tow. “There’ll be a bit of an Elision c re c h e
happening!” she says laughing. “It’ll be a real circ u s ! ”
“No,” he agrees with a laugh. “But it’s not
actually the culture that I’m into, it’s the music.”
During the past seven years, Hindson has been
immensely prolific with eleven orchestral works to his
name and over 30 other compositions. The fact that
he does most of his composition on a computer
c e rtainly helps. “It’s a slightly diff e rent thought
p rocess to writing by hand (which he still does
occasionally for certain pieces) but it’s so much more
e fficient. You can check harmonies and because you
can play it back in real time you get a great overv i e w
of how the stru c t u re is working. On paper you’ve got
to imagine it and sometimes your imagination can
play tricks on you.”
He is now starting to slow down, taking a bit more
time over compositions. “But being prolific has been
a good way to work through musical ideas,” he says.
Sweden in July. He is working on a piece for pianists
Michael Kieran Harvey and Bernadette Balkus, and a
f a n f a re for the Adelaide Symphony Orchestra called
Head Banger.
Hindson certainly comes up with some wonderf u l
titles for his work. “If I was going to write a symphony
I don’t think it would be called Symphony No 1,” he
says. “I think the title is important. It has to say
something about the work and it’s important to show
that I’m composing now, at this point in time.”
Photo: Tony Mott.
8

In the grand foyer of the City Recital Hall in Sydney on May 14, the inaugural APRA
P rofessional Development Aw a rds were presented to seven composers and
songwriters aged between 18 and 25.
Grants worth $10,000 each were
handed out to recipients in seven
genres of music by APRA Chairman
Michael Perjanik and fellow APRA
Board Writer Directors: Jenny Morris,
Eric McCusker, Richard Meale and
Chris Neal. Eminent APRA composer
member, Carl Vine, hosted the Awards
presentation.
The APRA Professional Development
Awards were instigated to mark APRA’s
75th anniversary, celebrating the past
by contributing to the future. Providing
recognition, cash and travel (with the
support of Show Group), the APRA
Professional Development Awards offer
encouragement to young writers demonstrating
outstanding potential in
their field.
APRA chose the winners after a detailed
selection process whereby composers
and songwriters were nominated by
music organisations around Australia.
These organisations were: Australian
Music Centre, Country Music Association
of Australia, Australian Guild of Scre e n
Composers, National Indigenous Art s
Advocacy Association, National Jazz
Development Office, Music NSW, Q
Music, South Australian Music Industry
Association, The Push Inc, Ta s m a n i a n
Music Industry Association and WA M .
ROXANNE DELLA-BOSCA Classical Music
Originally from We s t e rn
Australia, Roxanne curre n t l y
resides in Sydney and works
as a freelance composer,
pianist and teacher, while
pursuing postgraduate re -
search at the Sydney Cons
e rvatorium of Music. Recent commissions
include a work for Symphony Australia
in the New Voices program hosted
by the Western Australian Symphony
Orchestra, a music theatre piece in
collaboration with writer/journ a l i s t
Philippa Yelland, and incidental music
for a Sydney Alliance Francaise production.
Other plans include the
Australian Composers Orchestral Forum,
a major song cycle in the Norw e g i a n
language for mezzo-soprano Marit Sehl
and a volume of teaching pieces for piano.
Graduating with first class honours in
composition from the University of
We s t e rn Australia, Roxanne’s many award s
include the Dorothy Ransom and J.
Hodges prizes in composition and the
Ewen Aw a rd for leadership. She was
a finalist in the 1998 ABC Yo u n g
Composers’ Competition and the 1999
WA Young Australian of the Year Awards
(Arts Category). Such renowned artists
as Michael Kieran Harv e y, Patricia
Pollet and Ivan Vukcevic have
performed her compositions.
Her compositions and piano playing
have been broadcast on ABC Classic FM
and ABC Radio National. As a soloist
and accompanist she has premiered
over 20 new Australian works. As a
teacher, Roxanne has promoted composition
as an important creative outlet
t h rough her residencies with the
M e e k a t h a rra School of the Air, The
Australian Society for Music Education
(WA) and Walliston Primary School, as
well as through her employment with
Perth Anglican Girls' College, Pickering
B rook Primary School, Ta v e rners' Hill
Infants School, and in private enterprise.
Using her grant, Roxanne’s travel destinations
include Europe, especially a visit to
Zurich to work with violinist Ivan Vi k c e v i c .
PATRICK GILES World Music
P e rth-based Patrick re a l i s e d
music was his true calling
during an eight-month stint
as a cocktail bartender at
U l u ru. He had studied
acting at school as well as
working with a musician
friend on a single that was featured on a
compilation CD for independent label
Divination Music. He was a WAMI Song
Contest finalist in 2000 with “Dub
Classic No 1” and a finalist again in
2001 in the Harmony section with
“Dreaming of the Sun,” which Patrick
wrote in Uluru. “Dreaming of the Sun”
went on to win the WAMI Song Contest
Electronic section this year.
Influenced by an eclectic blend of
styles, Patrick’s aim is to develop a new
style of music which when listened to
around the world is accessible to all
cultures yet still has a flavour which is
unmistakably Australian. Says Patrick,
“I see this as possible if I am given the
opportunity to develop my music to truly
reflect the multicultural society we live
in. This may be achievable by embracing
and adopting elements of all the
different musical styles celebrated in
this country, both traditional and nontraditional
forms.”
Patrick wants to explore his passion for the
indigenous musical cultures of Oceania by
travelling to Papua New Guinea, New
Zealand and the South Pacific.
REBECCA MOORE Rock Music
Central Australia and the
Dreaming have infused the
rock music writing of
M e l b o u rne resident Rebecca
Moore. Her debut album is
titled The Uluru Concept,
and her band utilises both
electric and acoustic instru m e n t s
creating “the sound of travelling space
rock melodies with tribal beats and
innovative bass.”
In June 2000 Rebecca drove across
Australia with her infant son to join a
g roup of perf o rmers and travellers
collectively known as “Earthdream” in
Central Australia. From there she
embarked on a national tour taking in
major metropolitan areas as well as
towns such as Coober Pedy in South
Australia and Cygnet in Tasmania.
Rebecca is highly dedicated to environmental
and cultural issues and
influences for her music. She concentrates
on a dynamic and intere s t i n g
stage perf o rmance including – alongside
the music – drama, poetry, story t e l l i n g ,
trapeze and comedy. Healing through selfrealisation
and celebration is a central
message she offers. Rebecca has an
honest, inspiring and individual appro a c h .
A perf o rmer of unique talent and cre a t i v i t y,
Rebecca will use her grant to furt h e r
p romote and develop her re c o rding care e r.
SALLY RUSSELL Pop/Dance Music
Sally Russell was the main
songwriter and founding
member (with Lara
M e y e ratken of Ben Lee band
fame) of Sydney pop band
L u s t re 4. Shimmering guitars
and songs of young love were
the Lustre 4 trademarks. Songs from their
EP Double Happiness gained significant
airplay on Triple J and the band played
regularly in Sydney and Melbourn e .
Throughout her musical career other
bands and performers have embraced
Sally’s songwriting, her songs appearing
on releases by Ben Lee, SPDFGH,
Godstar and Via Tania.
A move to Melbourne and many songs
l a t e r, Sally re-invented her musical style
and created New Buffalo. New Buff a l o ’s
debut release was via Ben Lee’s web site
by the way of a split-mp3. “16 Beats”
was downloaded by more than 5000
people worldwide. The next step in Sally’s
musical adventure will be the release of
New Buff a l o ’s About Last Night, an EP
t h rough Modular Recordings/EMI. Sally is
now aiming for co-writing opportunities in
New York and London.
TAMARA STEWART Country Music
Victorian-born Tamara has
already built a strong profile
in the Australian country
music industry, although
her first album, The Way
The World Is, has only been
released this year. It is four
years since her first single, “No
S u rrender Romeo,” was re l e a s e d ,
winning her an Australian Songwriters
Association Award for Country Song of
the Year, and a nomination for New
Talent of the Year at the 1998 CMAA
Toyota Country Music Awards.
Tamara owned her first guitar at the age
of 10, and by 14 was perf o rming live
a round her home town of Mooro o p n a .
Heading to Sydney when she was 21, she
was off e red a spot on the legendary Brian
Young Show. Young, one of Australia’s
last touring bush balladeers, chooses
p romising young perf o rmers each year
and puts them through his own unique
rite of passage, touring the outback in
harsh and sparse conditions. Spending
four months on the road, perf o rming in
cities, towns and remote Aboriginal
communities, was life changing.
On her return Tamara moved to the
country music community of the NSW
central coast and met, among others,
w r i t e r / m u s i c i a n / oducer p r Rod McCorm a c k .
From there came a recording deal with
ABC Country. Her first single on
ABC/EMI was “Way Too Easy,” which
reached top 5 on the country charts. Her
latest single is “Both Simple Things.”
Both songs were co-written with Rod
McCormack and Rick Price. Tamara also
co-wrote three songs for Beccy Cole’s
album Wild At Heart. Signed to
Universal Music Publishing, Tamara’s
next step is to use her grant for a
songwriting trip to Nashville, and to
re t u rn to extensive touring aro u n d
Australia to promote her album.
GRANT WINDSOR Jazz Music
Grant Windsor, from Perth,
began his music studies on
the flute at age 12 and
continued these studies for
the next 12 years, during
which time he recorded with
the National Childre n ’s
Wind Orchestra and obtained his
A.Mus.A. His studies on the piano
began in 1997 at the West Australian
C o n s e rvatorium of Music. He was
accepted to attend the Jazz Program at
the highly acclaimed National Academy
of Music in Melbourne where he studied
under Tony Gould and Mike Nock. Grant
has since re c o rded with the We s t
Australian Symphony Orchestra, Jive
Express and Hip Mo toast, which has
s u p p o rted Engelbert Humperd i n c k ,
Dionne Warwick, Frank Bennet, Grace
Knight and Vika and Linda Bull.
Grant has also performed with Frank
Foster, Sandy Evans, Randy Brecker,
James Morrison, Don Burrows, Rolf
Harris, Darryl Somers and Shelly Scown.
In the next year Grant will perform at the
Melbourne International Festival with
Freddie Grigson’s Bluezone and at the
Wangaratta Jazz Festival in November
with K. Grant has been arr a n g i n g
professionally for the Hip Mo Toast Big
Band and for the West Australian Youth
Jazz Orchestra, where he was given a
commission by Alcoa Mining. He has
also studied with Steve Williams for
three years in the art of conducting and
has experience in conducting orchestral,
wind ensemble and big band
ensembles. John Forrest Senior High
School is currently setting up a program
to incorporate Grant as an Artist-in-
Residence for composition. Grant has
just completed his Bachelor of Music
(Composition and Arranging) under
Graeme Lyall.
Grant aims to purchase equipment to
further his studies, and hopes that his
Award will assist in his ambition to
attend an international jazz school in
the USA.
MICHAEL YEZERSKI Film music
Michael Yezerski graduated
from Sydney University in
1997 with First Class
Honours in musical composition.
He was then
a w a rded a scholarship to
the Australian Institute of
Music to complete Audio Engineering
qualifications. In 2001 he graduated
from the Australian Film Television and
Radio School in Screen Composition. He
has studied with some of Australia's
finest composers including Peter
Sculthorpe, Ross Edwards, Anne Boyd
and Edward Primrose.
It is only recently that Michael began
scoring for films. He has now written
music for nine short films (including
four documentaries). Many of these
have gone on to major film festivals
around the country including Tropfest
and St Kilda. Michael was awarded the
AFTRS Critics Circle Prize for his score
for Customs. He was nominated for an
Australian Guild of Screen Composers
Award for Scar Stories.
In addition to film scoring Michael has
composed original works and music for
t h e a t re. He also works as an audio engineer
( recently with Jenny Morris), music
p roducer and re-mixer (recently with Moses
O'Jah and African Express). Michael is
keen to further explore his screen and stage
composing after using his grant to assist
him with travel that could include a
composing workshop in America.
Keep an eye on APrap over the next few issues
for reports on the travels and adventures of the
2001 APRA Professional Development Award
winners.
Below, From left to right: Host of the evening, classical
composer Carl Vine. Michael Yezerski with APRA Director
Jenny Morris. Roxanne Della-Bosca with APRA Director
Richard Meale. Beccy Cole and Slim Dusty congratulate
Tamara Stewart. Sally Russell with APRA Director Jenny
Morris. APRA Director Chris Neal with Patrick Giles.
Grant Windsor with APRA Chairman Mike Perjanik.
Rebecca Moore with APRA Director Eric McCusker.
All photos: Tony Mott 10

“Congrats to organisers for
staging the country ’s best
a w a rds show, full of good
fun and re l e v a n t
p e rf o rmances.”
K ATHY McCABE, SUNDAY TELEGRAPH,
JUNE 3, 2001
Slim Dusty doing
the crowd–pleasing
“Pub With No Beer”
Dave Mason revives
“Quasimodo’s Dream”
Ross Wilson sings
“Eagle Rock”
The aim was to celebrate APRA’s 75th birt h d a y
in a big way, and unless you were avoiding
all newspapers, radio and television during the
month of May, you more than likely knew it
was happening. This year’s APRA Music Aw a rd s
made headlines around the country and,
i m p o rt a n t l y, Australian songs and songwriters
w e re thrust into the spotlight.
Tim Rogers and
Harry Vanda with
Friday on their minds
Killing Heidi
Tex Perkins sings
“The Loved One”
Held in Sydney at the AJC Convention Centre on
Monday 28 May, it was APRA’s biggest Aw a rds night
e v e r. It was a celebration of the musical present and
f u t u re as well as the past, with 900 people
gathering to see honours bestowed for songwriting
achievements in the year 2000, as well as the
announcement of the much anticipated – and hotly
c o n t roversial – Ten Best Australian Songs of the past
75 years.
Jodi Phillis performs
“Don’t Dream It’s Over”
P o w d e rf i n g e rtook the honours for Song of the Ye a r
for the second time in a ro w, while Jesse and Ella
H o o p e r, the brother and sister writing team fro m
Killing Heidi, were named Songwriters of the Ye a r
“This is the one that’s going on my bedroom wall!”
Ella said pro u d l y.
And it might not have been a big surprise when the
H a rry Va n d a / G e o rge Yo u n g composition “Friday On
My Mind” was announced as the number one
Australian song of the past 75 years, but it was a
fitting climax to the evening – and weeks of
nationwide speculation – when Harry Vanda joined
You Am I on stage for a perf o rmance of the 1967
Easybeats classic.
Photos: Tony Mott and Rikki Keene
12

2001 APRA MUSIC AWARD WINNERS
Peter Sculthorpe
Burkhard Dallwitz
Ella and
Jesse Hooper
Christopher Stafford and
Peter Morand
Charles Fisher with
long time friend
Michael McMartin
Friday on My Mind
Wr i t e r s :H a rry Vanda, George Yo u n g
P u b l i s h e r :J Albert & Son Pty Ltd
P e rf o rm e r / s :The Easybeats
Eagle Rock
Wr i t e r :Ross Wi l s o n
P u b l i s h e r :M u s h room Music Pty Ltd
P e rf o rm e r / s :Daddy Cool
Beds are Burn i n g
Wr i t e r s :Rob Hirst, James Moginie, Peter Garre t t
P u b l i s h e r :Sony Music Publishing Australia
P e rf o rm e r / s :Midnight Oil
Down Under
Wr i t e r s :Colin Hay, Ron Stry k e rt
P u b l i s h e r :EMI Songs Australia Pty Ltd
P e rf o rm e r / s :Men at Wo r k
Pub With No Beer
Wr i t e r :G o rdon Parsons
P u b l i s h e r s :EMI Music Publishing
Australia Pty Ltd
P e rf o rm e r / s :Slim Dusty
SONG OF THE YEAR
Ti t l e :8MY HAPPINESS
A rt i s t : P o w d e rf i n g e r
Wr i t e r s : Jonathan Coghill, John
Collins, Ian Haug, Darren
Middleton, Bern a rd Fanning
P u b l i s h e r : Festival Music Pty Ltd
SONGWRITER OF THE YEAR
Ella Hooper and Jesse Hooper
Published by Wah Wah Music Ltd
a d m i n i s t e red by EMI Music Publishing
Australia Pty Ltd
TED ALBERT AWARD FOR
OUTSTANDING SERVICES
TO AUSTRALIAN MUSIC
Charles Fisher
MOST PERFORMED
AUSTRALIAN WORK
Ti t l e :8S H I N E
A rtist: Vanessa Amoro s i
Wr i t e r s : R o b e rt Parde*, Vanessa
A m o rosi**, Mark Holden
( A S C A P )***
P u b l i s h e r s :S t a n d a rd Music Pty Ltd*,
a d m i n i s t e red by EMI Music
Publishing Australia Pty Ltd,
Marjac Productions**,
D ream Dealers Pty Ltd***
MOST PERFORMED FOREIGN WORK
Ti t l e :8B E N T
A rt i s t : Matchbox 20
Wr i t e r : R o b e rt Thomas (BMI)
P u b l i s h e r : EMI Music Publishing
Australia Pty Ltd
APRA’S TEN BEST AUSTRALIAN SONGS
MOST PERFORMED AUSTRALIAN
WORK OVERSEAS
Ti t l e :8I KNEW I LOVED YOU
A rt i s t : Savage Gard e n
Wr i t e r s : D a rren Hayes, Daniel Jones
P u b l i s h e r : Rough Cut Music Pty Ltd
a d m i n i s t e red by
Wa rner/Chappell
Music Australia Pty Ltd
MOST PERFORMED JAZZ WORK
Ti t l e :8JUNGLE JIVE
A rt i s t : Jive Bombers
Wr i t e r s : Christopher Staff o rd,
Peter Morand
MOST PERFORMED CONTEMPORARY
CLASSICAL COMPOSITION
Ti t l e :8BETWEEN FIVE BELLS
A rt i s t : Roger Wright – Piano
Wr i t e r : Peter Sculthorpe
P u b l i s h e r : Boosey and Hawkes Pty Ltd
MOST PERFORMED COUNTRY WORK
Ti t l e :8THE CAPTA I N
A rt i s t : Kasey Chambers
Wr i t e r : Kasey Chambers
P u b l i s h e r : Gibbon Music Publishing Pty Ltd
BEST TELEVISION THEME
Ti t l e :8O LYMPIC THEME 2000
Wr i t e r : B u r k h a rd Dallwitz
BEST FILM SCORE
The Loved One
Wr i t e r s :Ian Clyne, Gerry Humphreys,
R o b e rt Lovett
P u b l i s h e r :M u s h room Music Pty Ltd
P e rf o rm e r / s :The Loved Ones
D o n ’t Dream It’s Over
Wr i t e r :Neil Finn
P u b l i s h e r :M u s h room Music Pty Ltd
P e rf o rm e r / s :C rowded House
Khe Sanh
Wr i t e r : Don Wa l k e r
P u b l i s h e r :Rondor Music Australia Pty Ltd
P e rf o rm e r / s :Cold Chisel
I t ’s A Long Way To The To p
Wr i t e r s :Ronald Scott, Angus Young, Malcolm Yo u n g
P u b l i s h e r :J Albert & Son Pty Ltd
P e rf o rm e r / s :A C / D C
10
Q u a s i m o d o ’s Dre a m
Writer: Dave Mason
P u b l i s h e r :Festival Music Pty Ltd
P e rf o rm e r / s :The Reels
Ti t l e :8BETTER THAN SEX
Wr i t e r : David Hirschfelder
From left to right: Jeanette
Parsons (wife of the late
Gordon Parsons),
Peter Garrett, Slim Dusty,
Ross Wilson, Rob Hirst (front),
Harry Vanda, James Moginie,
Robert Lovett, Don Walker
and Dave Mason.
All Photos: Tony Mott.
Harry Vanda
For details of the complete list of
A P R A’s 30 Best Australian songs,
go to w w w. a p r a . c o m . a u
INTERNATIONAL NOTES
Scot Morris, Director International Relations, APRA
I n t e rnational Visitors to APRA’s 75th
B i rthday Celebratory Aw a rd s
In honour of the 75th anniversary celebrations at
this year’s APRA Music Aw a rds, re p re s e n t a t i v e s
f rom a number of affiliated overseas collection
societies travelled to Australia to attend the
Aw a rds on Monday 28 May.
Eric Baptiste, the Secre t a ry General of CISAC
( I n t e rnational Confederation of Societies of
Authors and Composers) came from Paris to
visit APRA. CISAC is the international umbre l l a
o rganisation re p resenting over 200 author
societies in nearly 100 countries. Cees Ve rv o o d ,
the President of BIEM, (the Intern a t i o n a l
u m b rella organisation re p resenting mechanical
rights societies of which AMCOS is a
member) also came out from Europe. Mr
Ve rvood also took the opportunity to
a d d ress the Board of AMCOS on a number
of important issues currently facing music
p u b l i s h e r s .
US society ASCAP had a large delegation
visiting, including CEO, John LoFru m e n t o ,
f rom New York, and Senior Vice Pre s i d e n t
I n t e rnational, Roger Gre e n a w a y, fro m
A S C A P ’s London office. Greenaway was the cowriter
of such hit songs as “Blame it on the Pony
E x p ress,” “Here Comes That Rainy Day
Feeling,” “Like Sister and Bro t h e r,” “Long Cool
Woman in a Black Dress” and “Melting Pot.”
Visiting from ASCAP in Los Angeles were
Executive Vice President Membership, To d d
Brabec, and Senior Vice President Membership
– Film & Television, Nancy Knutsen. Australianbased
Regional Director (Asia-Pacific) for
A S C A P, Willie Yeung, came up from Adelaide
to join the delegation.
At the Aw a rds, John LoFru m e n t o
p resented APRA member Daniel Jones
with the ASCAP Aw a rd for Song of the Ye a r
for the Savage Garden hit “I Knew I Loved
You” co-written with Darren Hayes. The
ASCAP delegation presented APRA with a
token of their esteem of their enduring
relationship with APRA in the form of a
s c u l p t u re re p resenting “The ASCAP Partner in
Music Aw a rd ... for 75 years of sharing the
vision of protecting creators' rights.” ASCAP also
announced the appointment of Peter Hebbes,
f o rmer APRA and AMCOS Director and friend,
as their Australian and New Zealand Membership
Consultant.
Scot Morris
Graeham Goble and Frances Preston
From left to right: Scot Morris (APRA), Eric
Baptiste (CISAC), Andrew Potter (PRS) and
Andre LeBel (SOCAN).
From left to right: Todd Brabec, Daniel Jones,
Nancy Knutsen and John LoFrumento.
APRA and SOCOG
Brett Cottle, CEO, APRA
In past editions of APrap we have kept members advised of developments in our dispute with SOCOG.
F rom US society BMI, President and CEO,
Frances Preston, came to Sydney along with
Senior Vice President International, Dr Ekke
Schnabel. Ms Preston bestowed the BMI Four
Million Air Aw a rd on APRA member Graeham
Goble for the classic Little River Band song
“Reminiscing”. There are not many songs that
reach this level of logged radio broadcasts and
this is the first time an APRA member has
joined the elite group of writers worldwide who
have had four million airplays in the US. BMI
p resented APRA with a congratulatory award for
our 75th anniversary.
Both the BMI and ASCAP delegations took the
o p p o rtunity to give seminars to publisher and
APRA staff outlining recent developments and
d i rections in the US, as well as their part i c i p a t i o n
in the important international alliances of
F a s t Track and the International Music Joint
Ve n t u re (IMJV). The visit by the societies also
allowed meetings with some of the awardees of
A P R A’s Professional Development Aw a rds to
discuss overseas opportunities for them.
We were also delighted to welcome Andre w
Potter to the Aw a rds, the Chairman of PRS in the
UK which co-founded APRA together with local
music publishers 75 years ago. The
Executive President of SGAE Spain and
the Chairman of the Executive Bureau of
CISAC, Eduardo Bautista, also came out
f rom Europe. Our CEO Brett Cottle is the
Vi c e - C h a i rman of the Bureau which is
C I S A C ’s governing organ. We were also
happy to get to know Andre LeBel, the
new CEO of the Canadian society, SOCAN,
who also sits on the Bure a u .
The visits allowed us to discuss matters of
mutual interest and concern. They also
highlighted the standing of Australian re p e rt o i re
i n t e rnationally and APRA’s standing in the eyes
of the world. The Aw a rds provided a showcase
for both and our friends from overseas were
i m p ressed with the wealth of songwriting talent
in the Australian industry and by the public
i n t e rest generated in the announcement of the
Ten Best Australian Songs of the last 75 years.
All photos: Tony Mott
The dispute – which concerned the amount of licence fees to be paid for public performances of music during the Sydney Olympics
– had been referred to the Copyright Tribunal for determination.
Following a process of mediation between the parties in late April, a final settlement was reached on 30 May 2001. The terms of
settlement provide for payment by SOCOG of a lump sum covering all performances of copyright music within APRA’s repertoire that
occurred during the Games. It is important to note that the fee only relates to public performances at Games venues, and in no way
relates to broadcasts – either in Australia or elsewhere. Broadcast royalties are, of course, payable under the normal terms of
broadcast licence agreements in place around the world with APRA and affiliated performing right organisations.
The amount of the lump sum licence fee paid by SOCOG is – under the settlement agreement – confidential. A special and substantial
royalty distribution is currently under way in relation to those works which were performed during the opening and closing
ceremonies of the Games. The remainder of the distribution – covering those works reported as used during, or as background
14
music to, sporting events – will be made in Distribution 38B.

MORAL RIGHTS LEGISLATION
Eve McGregor, Corporate Counsel, APRA
Moral Rights legislation – the culmination of many
years of lobbying by and negotiating with copyright
c reators and consultations between the govern m e n t
and affected and interested parties – is finally part
of the Copyright Laws in Australia.
The Copyright Amendment (Moral Rights) Act 2000 (the
“Amendment Act”) came into effect on 21 December 2000.
The Amendment Act amends the Copyright Act with the
i n t roduction of two distinct “moral rights” for individual
c reators being the:
(a) attribution; and
(b) integrity
of authorship.
New provisions have also been introduced to replace existing
p rovisions in the Act which cover false attribution of
authorship – these provisions only concern anything done on
or after the commencement date.
What are Moral Rights?
“Moral Rights” in copyright law are rights that concern the
reputation of a creator as concerns his/ her work.
Moral Rights exist in addition to, although separate from, the
“economic rights” associated with the work, such as the right to
p e rf o rm the work. It is a personal right to the creator and c a n n o t
be transferred. Its life is equivalent to copyright protection, that
is, for musical works, the life of the composer plus 50 years.
The Moral Rights of a creator or creators may be breached if:
(i) they are not attributed or credited for their work;
(ii) their work is falsely attributed to someone else; or
(iii) their work is treated in a dero g a t o ry way – for example,
by distorting or modifying it.
What types of material do Moral Rights apply to?
In addition to musical works, Moral Rights also apply to
written material, artistic works, dramatic works, computer
p rograms and cinematograph films.
The Right of Attribution applies to all works, except films (and
works included in films), existing on 21 December 2000 and
which are still protected by copyright. It also applies to all
works, including films (and works to the extent that they are
included in films), created after that date. Films created before
that date are not covered by the Right of Attribution.
The Right of Integrity applies to all works, except films (and
works included in films), existing on 21 December 2000 and
which are still protected by copyright. It would also apply to
all works, including films (and works included in films),
c reated after that date. Films created before that date are not
c o v e red by the Right of Integrity.
Where would there be considered to be a breach of “Moral Rights”?
A person could infringe Moral Rights by acts including:
(a) not attributing the composer at all;
(b) not attributing the composer in the way that he or she has
made known or, in the absence of a stipulation by the
c o m p o s e r, by a “reasonable form of identification” that is
“clear and reasonably pro m i n e n t ” ;
(c) falsely attributing a work to someone other than the composer;
(d) dealing with a falsely attributed work in certain ways, such
as by re p roduction;
(e) treating a work in a dero g a t o ry way – that is, doing
something to the work which is prejudicial to its composer’s
honour or reputation, such as materially distorting or altering,
or mutilating the work; and
(f) dealing with a work that has been subject to dero g a t o ry
t reatment in certain ways, say by re p ro d u c t i o n .
Legal action for breach of one’s Moral Rights can be taken by
the composer of a musical work and with respect to other
works, the originator, for example the author of a literary work.
If successful in any action the remedies available include
damages (financial compensation); a declaration that the
moral rights of a creator have been infringed; orders including
that a particular activity stop (an injunction); or that a public
apology be made and/or that any incorrect attribution be
publicly re v e r s e d .
Defences available in any action for breach of Moral Rights
include that a particular action was “reasonable” (taking into
account the nature and purpose of the work and any re l e v a n t
i n d u s t ry practice); that the composer agreed to the activity
complained of (this should be in writing and should ideally be
fairly specific terms of what the consent is to); or that a statutory
exemption (primarily concerning artistic works) is applicable.
How the industry, community and ultimately the courts tre a t
Moral Rights is of course something that has not yet been
tested. Other than failure to attribute or false attribution, it is
d i fficult to easily think of examples where the moral rights of
a composer may be infringed. It is of course fairly common in
the music industry for “covers” to be done of musical works
and it would be an interesting case to run to say that a covere d
musical work has been treated in a dero g a t o ry fashion.
A fairly recent decision in the Federal Court of Australia
c o n s i d e red whether or not a techno/dance version of the
O Fort u n a c h o rus from Carl Orff’s C a rmina Burana d e b a s e d
the original classical piece (debasement being the only action
available). In that case, the Court was very careful to “pay due
re g a rd to the broad spectrum of taste and values.” One judge
on the Full Court held, for example, that “it is difficult to think
an adaptation that has its own integrity could [be said to
debase the original], even if it is musically inferior and
however radical or distasteful (to some) it may be.”
The analysis of Moral Rights legislation cannot be exactly the
same – it will ultimately turn on what the Court re g a rds to be
“ d e ro g a t o y” r treatment; but the case may provide some guidance
as to the Court ’s likely approach to legislation of this kind.
For further information contact the Copyright Council.
Their website is at w w w. c o p y r i g h t . o rg . a u
Nominations for elections to APRA Board
At this year’s APRA Annual General Meeting, to take place at a date to be determined in October or November, two Writer Dire c t o r s
(one Australian and one from New Zealand) will be retiring from the APRA Board, while one Publisher Director will stand down.
Nominations for these positions are invited from members who have earned royalties in the 2000-2001 financial year. All
nominations must be countersigned by the nominee to signify his or her consent. Nominations must be received by the
Company Secre t a ry, Nick Hampton, by August 31 to guarantee their eligibility.
Please send all nominations to Nick Hampton, Company Secre t a ry, APRA, Locked Bag 3665, St Leonards NSW 1590.
When word got out earlier this year that much loved and respected perf o rmer and songwriter Ted Mulry
was battling with cancer, the industry rallied together to present a two-night benefit concert to raise
funds for Te d ’s medical expenses.
Held in Sydney on March 9 and 10, Gimme Te d b rought together some of Australia’s finest musicians from the past and pre s e n t .
O n e - o ff reunions of classic bands Sherbet, The Masters Apprentices, Autumn and Sebastian Hardie were highlights, as were
p e rf o rmances by Tim Freedman backed by Te d ’s old Gang, TMG, and Richard Clapton with members of INXS.
Other perf o rmers included Russell Morris, Ross Wilson, Billy Thorpe, John Paul
Young and the All Stars, Kevin Borich, Mental As Anything, The Radiators and
Rose Ta t t o o .
A long-time APRA member, Ted is still struggling to beat his illness but close
friends attest to the fact that he has not lost his wonderful sense of humour.
Mario Millo played with his old
band Sebastian Hardie
Richard
Clapton with
members of
INXS
Sherbet rocked!
Now available in Australia –
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platinum re c o rds, TV series, commercials, live theatre, foreign countries, perf o rmances, streaming and downloads on the
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the decisions, how deals are made and most import a n t l y, how much money you can make from each area of the music.
“An essential guide for any composer, songwriter, or business professional involved in the film
and television industry today.” – John Williams, Composer
About the Authors:
Todd Brabec is Executive Vice President and Director of Membership for the American Society of Composers,
Authors and Publishers (ASCAP). Jeff Brabec is Vice President Of Business Affairs for the Chrysalis Music Group.
Both are Deems Taylor Aw a rd-winning writers for excellence in music journalism; graduates of NYU School of
Law; former re c o rding artists, writers, and entertainment lawyers.
DISCOUNT for APRA MEMBERS!!
APRA members are off e red a 10% discount if they purchase the book direct from Music Sales.
The order details are :
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Ph: 02 9317 5288 Fax: 02 9317 5209 Email:m u s i c s a l e s @ w r . c o m . a u
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The Masters Apprentices reunite
All Photos: Bob King
16

Rachel Gaudry
RACHEL GAUDRY has recently released her first fulllength
album Leaving Tr a c e s on her own label Te a C u p
Music with national distribution through MGM. Rachel's
music first came to public attention when she was one of
the featured artists on Australian women singer/songwriter
compilation "Bloomers" (Roadshow Music 1998). In 1999
she won a $5000 travel grant/development award in the
Johnny Dennis Light Music Aw a rds. This year Rachel makes
her second USA and first Canadian tour
s t a rting at the North by North East festival in
To ronto. Rachel is featured in the curre n t
series of the TV show S t a r s t ru c k, making it
t h rough to the grand final of the show
p e rf o rming her original songs with band.
Check out w w w. r a c h e l g a u d y. rc o m
Colours of Fire is the title for classical
songwriter/guitarist GARETH KOCH’s fifth
solo CD release. Gareth has re c e i v e d
i n t e rnational acclaim for his work and is one
of Australia’s most re c o rded classical art i s t s .
The music ranges from baroque and Celtic to
Spanish, including flamenco. Released by
A rtworks, Colours of Fire will have enormous appeal for fans
of fine music and the guitar. w w w. c l a s s i c a l g u i t a r i s t . n e t
C O A S TAL FRONT released their album Naïve Soul in May.
The CD contains eight original songs written by the members
of the band. The songs vary in style with rock, jazz and blues
influences. The album was re c o rded at Reel Feel Studios
with sound engineer Ian Casey and was mastered by Paul
B ryant at Sony Music. Naïve Soul will be available at Coastal
F ront gigs. c o a s t a l f ront@aussiehtml.com
Lost the Spirit to Rock & Roll is the latest offering from local
songwriters Nic Dalton and Tom Morg a n ’s band S N E E Z E. “A
band who have been characterised by their sometimes
c o n t r a ry love of variety…Sneeze are not a band you can
second-guess, especially on stage.” For help on the latest
album Nic and Tom called upon some talented friends and
musicians including drummer Simon Gibson, Russell
Hopkinson and Lara Meyerratken and the four members of
the Bernie Hayes Quartet. The CD is available on Half a Cow
R e c o rds and a special double vinyl edition is availabe with
six extra tracks not on the CD version. For furt h e r
i n f o rmation call Penny McDowell on 02 9555 9697 or at
p e n n y m c d o w e l l @ o n e . n e t . a or uNic Dalton on 02 6345 3235
or haclabel@mpx.com.au
2000 was a busy year for Sydney songwriter and perf o rm e r
JULIET OBSESSED, who spent most of the year re c o rd i n g
and producing her first solo album Karaoke Blonde. The
successful CD launch at the Basement in Sydney in Marc h
highlighted the perf o rm e r’s growing popularity.
Juliet Obsessed has been perf o rming her
gutsy pop songs at venues all over Sydney
for some years now and has share d
the stage with the likes of The
Whitlams, Trout Fishing In Quebec,
R i c h a rd Clapton and Mick Hart .
w w w.julietobsessed.homepage.com
CD Releases
Compiled by Milly Petriella and Alana Ganderton,
Writers Services, APRA
W I R E S is the much anticipated debut album for THE ART
OF FIGHTING, a Melbourne-based trio that has been
together since 1995. The album has been met with glowing
reviews from the Australian music press. Recorded and
mixed by Tim Whitten at Sydney’s Megaphon and Paradise
Studios during November and December 2000, W I R E S i s
the first full-length release for The Art of Fighting after their
p revious two EPs. The band won two awards at the Music
I n d u s t ry Critics Aw a rds 2000 for best Debut EP/ Single and
Best EP/Single. For further information contact Tr i f e k t a
R e c o rds on 03 9415 9422 or e-mail t o m @ t r i f e k t a . c o m . a u
Twilight Blues is the latest offering from ALEX BURNS. Alex
has spent over two decades in the Australian music industry
and released three CDs, however this album is the first one
ever re c o rded in Australia of acoustic Hawaiian music. Alex
is joined on the album by multi-instrumentalist Bob
B rozman and Melbourne guitarist Jim Jensen. Distributed by
Black Market Music. Call 03 9326 8886.
MARIANNE MILLARD released her debut single in Febru a ry
2001 titled “A Girl Like Me.” Marianne has recently been
p e rf o rming live and is about to embark on a national tour.
The single is receiving airplay on commercial as well as
community stations in Sydney and Melbourne, and has
f e a t u red in the Australian mini-series The Saddle Club. The
CD single features a bonus video of Marianne. Distributed in
Australia by Shock Records. For further inform a t i o n
i n f o @ c e n t r a l s t a t i o n re c o rd s . c o m
F ryup Records has released G row Fins, the latest off e r i n g
f rom Melbourne tram-surfing trio THE TOMMYS. Check out
some of their surf inspired tunes at w w w. o z p o p s . c o m. For
f u rther details contact Fryup Records on 03 9481 3574 or
e-mail f ry u p @ s t a rt.com.au
New Dire c t i o n s, the debut CD by LYNDA BACON AND THE
E G G S was launched at the Basement in Sydney in April.
Lynda, one of Australia’s foremost jazz trumpeters and
e n t e rtainers and her band The Eggs have previously toure d
to Hong Kong and Taiwan. The band includes Lynda on
electric trumpet and flugel horn, legendary blues and R&B
singer Tina Harrod, Aron O’Hignan on piano, John Maddox
on bass and Evan Mannell on drums. Call the Eggs
management for a copy of the CD on 0415 907 299 or visit
the web-site at w w w.ans.com.au/~lbacon
Sweet Eart h is the name of the new solo CD released by
CLEIS PEARCE, composer, violinist and vocalist from Byro n
Bay in nort h e rn NSW. The CD contains extraord i n a ry
examples of diff e rent violin sounds and styles. Cleis is joined
on the album by talented fellow musicians Greg Sheehan on
d rums, Steve Berry on guitars and Tone on FX and bass. The
CD is available by writing to order fro m
PO Box 1163 Byron Bay 2481 or by
phoning 02 6685 4453.
Also from Byron Bay, WILD ZINNIAS
have just released their second CD
Sweet Rain of Redemption and it’s being
distributed by MGM. The Sydney Irish
Echo has described the Band as a cro s s
between Lunasa and The Waterboys.
G O TA COLA have completed their album Guaranteed Rustless and are
c u rrently on the road showcasing their new songs. The Brisbane-based
trio has also just signed a publishing deal with Mushroom Music
Publishing Pty Ltd. Contact n e e d h a m @ e n t e rn e t . c o m . a u o r
g o t a c o l a @ h o t m a i l . c o mfor more information.
Out of the Blowing Sands…The Piano Music of Phillip Wi l c h e r is the
second CD release for composer PHILLIP WILCHER. The CD features a
selection of piano works incorporating harmonies from diff e rent culture s
and is perf o rmed by internationally acclaimed pianist Jeanell Carr i g a n .
“Continual Dew,” a track from the album, has received praise fro m
American Pulitzer Prize-winning composer and diarist Ned Rorem, who
w rote that it was “touching and true.” Available through the Australian
Music Centre. Contact i n f o @ a m c o z . c o m . a u
Taken from the album Too Fat for Ta h i t i, released in early 2000,
“ N e w p o rt Nightmare / S t r a w b e ry Deluxe” is the latest offering fro m
popular Sydney four-piece band S K U L K E R. This Double-A side EP is
backed with remixes of each track and also includes CD-Rom film clips
for the songs “Bittersweet” and “Naughty.” Skulker has been re c e i v i n g
radio airplay nationally with high rotation on Triple J and has proved their
live prowess with perf o rmances during the Big Day Out 2001 and
s u p p o rt slots for acts such as Monster Magnet, The Screaming Jets, The
Donnas and The Presidents of the USA. “Newport Nightmare / S t r a w b e ry
Deluxe” is released on Chatterbox Records. Call 02 9264 8477 or email
c h a t t e r b o x @ r p i . n e t . a ufor further details.
GENG GONG is a six-piece ensemble that blends traditional Javanese,
Sudanese, Bulgarian, Turkish and other world music in new
c o n t e m p o r a ry arrangements and many original compositions. Not Just
M u s i c is the long awaited CD of the band’s 15-concert tour of Indonesia
in late 2000. For information and/or bookings please contact Wot Cro s s -
Cultural Synergy on 02 9560 4385 or w o t @ p r i m u s . c o m . a uor visit the
GengGong web-site on http://home.iprimus.com.au/wot
Italian Love Mix is a compilation of 13 original contemporary songs by
various Australian writers and artists whose writing and perf o rming styles,
amongst others, include Euro-pop, rock and folk. A major feature of the
album is the work of Sydney based group F.D.I. led by talented writer/vocalist
PETER PAUL BUHNE. Contact g roovymusic@optusnet.com.au
KIM O’LEARY is a Melbourne singer/ songwriter who has spent the majority
of her career in the United States where she had a publishing deal and a
re c o rd deal with Motown. She re t u rned to Australia in 1999 to work on
some new songs with Geoff Bridgford, Ross Hannaford and Gaz Soloman.
The result is an eclectic album with traditional and contemporary rock and
R&B influences called Kim O’Leary and The Fre e z o n e. John Farn h a m
recently re c o rded one of the songs “Every Step” for the Myer Christmas
Album. Kim is currently negotiating a US distribution deal for the album.
The album is available now at w w w. k i m o l e a y.com r
L i s m o re-based country - rock band LUKE AND THE LOST BOYS h a v e
released their new album Between the Devil and the Deep Blue. All but
two tracks were re c o rded at Rockinghorse Studios in Byron Bay. The
album has a classic live sound and is a collection of soulful ballads,
driving rock and sweet country
blues. The band is curre n t l y
p romoting the new album thro u g h
live perf o rmances and local radio
a i r p l a . y Contact Luke Vassella for
m o re information on the album or for
gig dates by phoning 0412 047 289,
e-mail c h a r l i e @ l u k e v a s s e l l a . c o m
or go to w w w.lukevassella.com
Moved by the plight of East Ti m o r’s freedom struggle, singer/ songwriter
HELEN HAINING has released her debut CD single “Song for Timor –
Day of Grace.” Helen was joined on the CD by vocalist Honi Travers and
Natalie Richy on percussion. Proceeds from the sale of the single will be
used to help East Timor with fresh water and fishing boats. Contact Helen
Haining on 07 5482 9082 or h a i n i n g h @ s p i d e rweb.com.au
M e l b o u rne composer FRANCO CAMBARERI has written, re c o rded and
p roduced his first CD titled Tender Feelings, a collection of 22
i n s t rumental works in various traditional and contemporary styles
including mambo, samba, tango, and Latin rock. The album is out
t h rough Colossal Records on 03 9387 0555 or you can also contact
g roovymusic@optusnet.com.au
C o u n t ry singer/songwriter N AT TA S H A p e rf o rmed her latest single
“Million Dollar You” on the Denise show in May after being nominated
for the Best Female Artist at the Victorian Country Music Aw a rds. Molly
M e l d rum has also nominated Nattasha as his “Artist Of The Month” on
w w w.mp3.com.au. Her debut album was produced by CHRIS WILSON
and features musicians from Australian Crawl and The Black Sorro w s .
See w w w.nattasha.com
F o rmer Perth band JOHN BUTLER TRIO recently settled in Melbourn e
and have independently put out their highly acclaimed album “Thre e ”
which has managed to break the Top 40. For more information and tour
dates visit: w w w. j o h n b u t l e trio.com r
AMBER REES is showcasing a
selection of her vast array of
original pop songs and
dynamic vocal range on her
new CD/CD-ROM titled D a r k e s t
A n g e l. “Amber’s vocal and
songwriting abilities shine in
Darkest Angel,” said Triple J
p resenter Rosie Beaton. Email
a m b e r @ a m b e re e s . c o mfor gig
and CD/CD-ROM details.
Amber Rees
M e l b o u rne band T O TA L LY GOURDGEOUS is Carl Panuzzo, Penelope
Swales, Mal Webb and Andrew Clermont. Their self-titled album is
available through w w w. t o t a l l y g o u rd g e o u s . c o m
P e rth synth-pop band PA R A D O X Xcompleted their new concept video in
M a rch. Called “Retrobution,” the clip is to be aired on MTV in America
as well as in Australia on ABC TV’s Rage. The clip has also been chosen
for a US video compilation through Ninthwave Records. The track is fro m
P a r a d o x x ’s current album New Devotion. For further information visit
http://home.primus.com.au/paradoxxband/
I’ll Be Gonz has been compiled and released to celebrate the 30th
a n n i v e r s a ry of the single “I’ll be Gone” achieving number 1 status on the
Go-Set Top 60 chart. The MIKE RUDD composition was originally
re c o rded by his own group Spectrum. The new tribute album features all
the known, re c o rded versions of the song as well as new versions
re c o rded especially for the album. Manfred Mann, John
Williamson, Colleen Hewett, as well as bands Lucid and
Bloodduster are just some of the artists who appear on the CD.
To get a copy of the album, send a cheque or money order for $20
+ $5 postage and handling to First Jak Management, PO Box
1181 Camberwell Vic, 3124. GST is included and all pro c e e d s
f rom the sale of the CD go to the Kids Under Cover charity. More
i n f o rmation for Kids Under Cover can be found by visiting the web
site at w w w. k u c . o rg . a uor by phoning 03 9663 2931.
Juliet Obsessed
Luke & The Lost Boys
18

Alan John and Dennis Watkins
Tours and Deals
Compiled by Milly Petriella and Alana Gandert o n
Congratulations to DENNIS WAT K I N Sa n d ALAN JOHN, whose
opera The Eighth Wo n d e r, revived by Opera Australia last year,
received the Best Opera award at the inaugural Helpmann Aw a rd s
for Perf o rming Arts in Sydney on March 25.
EDDIE WOULD GO have finally completed their documentary
which was six years in the making. The documentary has just been
accepted for airing on the ABC in August and details the band’s
travels throughout the USA, Canada, Europe and Australia,
featuring povert y, bar brawls and 27 hire vans. For more information
see w w w. e d d i e w o u l d g o . l i v e . c o m . a u
C o u n t ry Arts SA is coordinating a regional tour in August with
JEANETTE WORMALD and musicians Julian Ferr a retto and Cliff
Milne touring to Wi rrulla, Wudinna, Tumby Bay and Cummins
(with other venues to be confirmed) from August 9-19. Jeanette
will be perf o rming her show songs of Australia which celebrate
A u s t r a l i a ’s Centenary of Federation through traditional ballads,
c o n t e m p o r a ry and original Australian songs. If you want to
know any more about Jeanette and her music e-mail:
l i n d e n e @ r i v e r l a n d . n e t . a uor you can visit Jeanette’s web site at
w w w. j e a n e t t e w o rm a l d . c o m
LORNA MACINTYRE e m e rged from this year’s Red Gum Festival
having won the APRA-sponsored Aw a rd for Australia’s Diverse
Music. Feeling confident from her win, Lorna then sent her demo
CD to Nashville. Recently, Lorna was awoken one morning at
2.30am from an interested publishing/re c o rd company in
Nashville, and has received several calls from other industry
powers that have heard her demo. Congratulations, Lorn a .
David and Merelyn Carter of duo C A RTER & CART E R will be
touring through VIC, NSW and QLD in July and August. This tour
s u p p o rts the release of their third and award-winning single
“A Little Place Called Love.” Following their recent appearance at
the Hats Off to the Pioneers festival at Ta m w o rth, they’ll appear at
the Gympie Muster in Queensland in August, Mildura Festival in
Victoria in September/October and at the Wa rracknabeal Rodeo in
Victoria in October. For more details go to w w w. c a rt e r- c a rt e r. c o m
Marimba and Vibraphone duo INVENTION IN TIME a re set to
tour Europe in August/September. The duo’s website is at
w w w. i n v e n t i o n i n t i m e . c o m
Applications for the 6th Frankston International Guitar Festival
close in October. For more information or entry details contact: Bill
D e t t m e r, Artistic Dire c t o r, Frankston International Guitar Festival.
Phone 03 97899642 Fax 03 97899652 Mobile 0412 524 375
h t t p :// g u i t a r. f r a n k s t o n . v i c . g o v. a u or / email: d e t t m e rw @ o c e a n . c o m . a u
SCREENRAP– Film & Television update
Michelle O’Donnell, Manager Writers Services - Film & TV, APRA
APRA composer ASHLEY IRW I N s e rv e s
each year as principal arranger and
o rchestrator of the Academy Aw a rds under
music director/ASCAP composer Bill Conti.
The 73rd Academy Aw a rds were pre s e n t e d
at the Shrine Auditorium in Los Angeles on
S u n d a y, March 25, and orc h e s t r a
rehearsals took place at the famed Capital
R e c o rds Studio in Hollywood.
MICHAEL EASTON is currently scoring two
Hollywood film projects (courtesy of a visit
to the Cannes Film Festival). Michael is
one of our quiet achievers with an
i m p ressive list of screen credits already to
his name. Previous scores include the TV
series S n o w y, Halifax f.p., Lift Off a n d
B a c k y a rd Blitz. Film credits include P s y c o
Beach Part y, The Mao Game ( p roduced by
Woopi Goldberg), D ream of Alice ( B B C 2 ) ,
and numerous documentaries such as
Pandas: A Giant Stirs, The Siberian Ti g e r s
and Dancers of the Deep for Southern Star.
Michael enjoys an incredibly diverse
musical career; his concert works and nine
operas have been perf o rmed in both
Australia and Europe and re c o rdings of his
o rchestral works have been re l e a s e d
i n t e rnationally on the NAXOS label.
Michael is also the opera reviewer for the
Sydney Morning Herald and he directs the
P o rt Fairy Spring Music festival with Len
Vo r s t e r, which is now in its eleventh year.
B o o t m e n taps on. Following last year’s
AFI award for best film score, C E Z A RY
S K U B I S Z E W S K I has also received the
Michael Easton with Publisher Norm Lurie
The multi-talented and always fascinating Neil
M u rray spoke to APRA members at Songwriter
Speaks seminars in Sydney & Melbourne in April.
M u rr a y ’s contribution to Australia’s contemporary musical
c u l t u re over the past two decades is considerable. A founding
member of the Wa rumpi Band, he has released four solo
albums and won the APRA Song of the Year award in 1995 for
“My Island Home” which went on to become a major hit for
Christine Anu and was featured prominently in the Sydney
Cezary Skubiszewski
Film Critics Circle of Australia Aw a rd for
best music score, and was also included in
the Urban Cinefile Birthday Honours list
for outstanding achievement as a
soundtrack composer. Lots of excitement
at the opening ceremony of the Bombay
Film Festival in India, with six “Tap Dogs”
flown in from London to dance to four of
his tracks from B o o t m e nto an audience of
over 20,000. Cezary ’s latest film L a
S p a g u o l awill be released later this year.
Hot on the heels of his APRA award for
the Best Television Theme, B U R K H A R D
D A L LWITZ is in Germany scoring a new
Columbia Tri Star feature Was Tun, We n n ' s
B re n n t ? The dire c t o r, Gregor Schnitzler, is
the son of the original founding member of
Tangerine Dream. It features Til Schweiger
(Judas Kiss and Replacement Killers) and
Klaus Lowitsch, veteran German actor and
star of many Fassbinder films. Burkhard
will also compose the music for Wi n t e r
Olympics in Salt Lake City, the
SONGWRITER SPEAKS – Neil Murray
Ashley Irwin & Bill Conti reviewing the score at Academy Awards rehearsal.
Commonwealth Games in Manchester and
the Athens 2004 Olympics for the Seven
Network as well as an animated film for
SBS Into The Dark d i rected and drawn by
Dennis Tu p i c o ff .
IAN CAMERON SMITH has completed the
s c o re for the Phil Avalon feature F i n d e r.
Beyond Films have already pre sold the film
to many European markets. The film is a
thriller about a private eye longing to re t i re
but drawn to the case of a kidnapped girl….
RICKY EDWA R D Sis about to start work on
the score for R e t u rn to Eden and has just
completed the new ABC/National Geographic
series C roc Country… M A RTY LOVE
has just finished the theme for a new kids
show Ticklish Allsort s(for Beckers)… G A R RY
M C D O N A L D and LAURIE STONE a re
scoring the new childre n ’s series Cyber Girl…
and PETER DASENT has just finished the
last episodes of G l o r i a s ’ House, a 26-part
animated series for Energee Entert a i n m e n t .
2000 Olympics Opening and Paralympics Closing Cere m o n i e s .
A published novelist and playwright, and a prolific writer of
s h o rt stories, poems, essays and articles – as well as songs –
M u rray sang and spoke to captivated audiences at both seminars.
“The feedback you get immediately from the audience or individuals
is the most important thing. So always play your stuff to other
people or get a second opinion. Even if someone doesn’t like it
but you still have a strong feeling that the song is right, that it’s
working, you may have to have a look at it in terms of arr a n g e m e n t
maybe, that can often help, but you’ve just got to persevere . ”
Colin Black
NCEIA award winning composer Colin Black has had his musical
composition “What Is Creation” perf o rmed at the 31st Festival
Synthese Bourges 2001 France. The work is a soundart piece
which combines found sounds and musical composition. Audio
samples are also used in the work as musical instru m e n t s .
The piece is intended to give an impressionistic aural response to
the question, “what is creation?” For more information see
h t t p : / / w w w 1 . t p g i . c o m . a u / u s e r s / c y d o n i a n / c _ b l a c k . h t m l
Neil Murray
“The ideas that are expressed in songs or poems can become commonplace, they’ll
filter down through the community. When I started off with the Warumpi Band, the
term “reconciliation” hadn’t been thought of… Some individuals had been creating
relationships with indigenous people and going out and doing their thing quietly and
gradually this thing has swept through the population to where it exists as a
groundswell or a people’s movement today. You can look back in history and there
are plenty of examples of that stuff going on; there’s a whole lot of ideas in terms
of social consciousness that have first been talked about in songs.”
“When someone comes up and tells you that they’ve been truly moved or inspired
or disturbed even by something that you’ve sung or that someone else has sung that
you’ve written, that is it, that’s what you gauge your success on. I’m an intuitive
writer in that I write for myself first and foremost, I’m writing something that moves
me. And if it doesn’t move me it’s not going to move anyone else. As much as we like
to amplify our differences amongst people in the world, we are essentially the same,
human creatures, and we have emotional responses to things which is pretty much
universal.”
20

I N T E R S TATE UPDATE
such as the music industry in their Wo o d f o rd Folk Festival organisers are
negotiations with the rest of govern m e n t communicating with a number of other
and to assist in the advancement of the a rts-based groups to come up with a
i n t e rests of music generally. At a Local festival aimed at young festival-goers. The
G o v e rnment level the Brisbane City envisaged festival will embrace all art
Council in a partnership with the Cre a t i v e f o rms and offer a three-day event on the
Industries Research and Applications Wo o d f o rd festival premises. For any
C e n t re at QUT and the key centre for e x p ressed interest, contact Wo o d f o rd Folk
C u l t u re and Media Policy at Griff i t h Festival organisers. Applications for
University is currently examining the idea p e rf o rming at the Wo o d f o rd Folk Festival
of Brisbane City as a music industry 2001-2002 are closing. Contact the festival
i n c u b a t o r.
for more information: 07 5496 1066 or
w w w. w o o d f o rd f o l k f e s t i v a l . c o m
Q L D
Anna Campbell
q l d @ a p r a . c o m . a u
In mid July APRA will be visiting the
Sunshine Coast to hold a seminar for
members and other interested musicians.
Music Industry guests will be invited to
p a rticipate in the discussion, which will
o ffer opportunities to meet face to face
with those industry contacts. One on one
i n f o rmation sessions will also be available
for APRA members wishing to ask specific
A P R A - related questions. If you are
i n t e rested in attending, or would like more
i n f o rmation, please contact Anna in the
Brisbane office 07 3257 1007.
Q Music is in the throes of moving their
o ffice to Fortitude Va l l e y. Fortitude Va l l e y
being the hub of the entertainment scene,
this new location allows greater access to
musicians and music industry folk. The
new street address: Level 1, 301
B runswick Street Mall, Fortitude Va l l e y,
QLD 4006. The postal address is P O Box
878, Fortitude Va l l e y, QLD 4006. The
telephone number 07 32200477 will
stay the same for a period. Email:
i n f o @ q m u s i c . c o m . a u
The reappointment of Matt Foley as Art s
Minister is significant for the creation of a
new arts ministry. The new stru c t u re and
the appointment of a Dire c t o r-General for
the Arts means a direct re p o rt i n g
relationship between Arts Queensland and
Minister Foley. This should have
significant benefits in the ability of Art s
Queensland to develop policy both within
its own portfolio (including the art s
s t a t u t o ry authorities), and in part n e r s h i p
with other departments. Arts Queensland
and the Department of State Development
have jointly tendered for an operator to
run a $100,000 pilot Music Business
A d v i s o ry Service. There is a definite ro l e
for Arts Queensland to assist industries
For those of you that haven’t spotted the
online re s o u rce to local QLD acts called
brispop.com (w w w. b r i s p o p . c o m) you
should take a visit. This re s o u rce has
c reated a strong collective of QLD bands
and has been seen as a tool for both
bands and industry colleagues alike.
Since the inception of
brispop, there have been
sellout CD launches of
brispop bands, new
music events, incre a s e d
i n t e rnational exposure
for local acts, and a
g rowing community of
musicians. The site was
developed by part n e r s
Joanne Bell and Mark
King (L A N C A S T E R), who
have combined their backg
rounds from web d e s i g n ,
legal, photography, and of
course music! To get y o u r
band on the site contact:
Lancaster a d m i n @ b r i s p o p . c o m
Wax Lyrical, fronted by SE
Queensland co-ord i n a t o r, Jules Makk, will
be launching on July 23. The aim of Wa x
Lyrical is to foster skills, confidence and
p e rf o rmance opportunities in the cre a t i v e
songwriting community. Wax Lyrical is
held every Monday night from 7.30pm to
11.30pm as an open mike event. The
show is an open door night that
endeavours to foster our local songwriting
and perf o rmance styles. Contact Jules on
0411 101 010 or at x l m u s i c @ b i t . n e t . a u
On May 20, Anna Campbell attended the
first Gold Coast Music Industry Association
(GCMIA) meeting which showcased four
local bands and housed a music industry
panel for conversations re g a rding the Gold
Coast music scene. The organisation is
aiming to improve the conditions and
p romotion of local acts and venues on the
Gold Coast. Gold Coast perf o rming bands
have faced the ongoing problems of the
lack of venues to perf o rm live, due to the
number of venue closures. Creating a
support organisation could prove to
s t rengthen the music scene on the Gold
Coast, but input from all parties in the
music environment is needed to make it a
success. The driving force behind GCMIA
is David Young who can be contacted at
the Rose and Crown on 07 5531 5425.
S A/ N T
Paula Rosenbauer and Helen Page
s a @ a p r a . c o m . a u
APRA Adelaide staff member, G A RY
B U R R O W S, was surprised at the re c e n t
B a rmera Country Music Festival when he
was presented with the Industry Aw a rd for
2001 for Support & Encouragement to
Music in South Australia. Gary has been
an annual visitor to the Festival where he
is not only involved in the judging of the
songwriting sections but also pre s e n t s
a w a rds, comperes and this year even
launched his own Country Music CD,
B roken Pieces. After 16 years with APRA
it was a wonderful acknowledgment of his
dedication to the encouragement of local
musicians and songwriters. Aw a rds were
also presented by Gary to the winners of the
Gary Burrows
Songwriting sections: ALLAN WEBSTER
(Millicent, SA), MEG DAV I S ( A b b o t s f o rd ,
Vic) and JOELENE MANDRAKAS
( O x f o rd, Qld).
Music Business Adelaide 2001 is now
just around that corn e r. Being held in
September this year for the first time
(21-23) it is shaping up to be the biggest
e v e r. Features will be national showcase
p e rf o rmances, intimate one-on-one
discussions with music industry stalwart s
and three days of non-stop music activity.
Visit their website at w w w.mba.on.net o r
contact Skye Murtagh on 08 8463 5483
for more information on this year’s
p rogram and how to register for MBA
a c t i v i t i e s .
The Original Recipe Festival in Darw i n
was held June 15-24. Organised by MIDI
(Music Industry Development Inc) with
assistance from the Australia Council, the
festival included some of the best original
acts the NT has to off e r. J O D I E
C O C K AT O O - C R E E D( f rom YOTHU YINDI)
went solo with her band and perf o rm e d
alongside N O K T U R N L and L E O N
S P U R L I N G ( f rom Alice Springs). Other
events included the Foot in the Door C D
launch at NTU Music Club, Music Quiz
Night, Blues/Gospel night, Nirvana Jazz
Jam and the Opening Night Showcase at
the Town Hall Ruins. An APRA Members
Seminar was also held for all NT
m e m b e r s .
The 4th National Folk Alliance
Convention will be held in Adelaide
on August 14-16. This event will be
i m p o rtant for anyone involved in this
g e n re of music, from festival directors to
a rtists and composers to managers and
agents. Special seminars will include
“State of Folk in 2001 – Direction and
Building Stronger Networks,” “World and
Folk Music – What is the Diff e rence?” and
“Multiculturalism – What is the Folk
A p p roach?” There will also be thre e
special Showcase Concerts where
p e rf o rmers from all around Australia will
be able to perf o rm for the gathering of
A u s t r a l i a ’s top festival and venue
o rganisers. For further information or
application forms, contact the Admini
s t r a t o r, Dieter Bajzek, on 03 9459 8128
or d i e t e r @ m a i l - d i re c t . c o m . a The u website
can be found at w w w. f o l k a l l i a n c e . o rg . a u
The APRA SA Country Song of the Ye a r
Competition is on again. Organised by the
South Australian Council for Country
Music, the competition offers $1000 in
total prize money with $400 being for the
Best Modern Song, $400 for the Best
Traditional Song and an additional $200
for the overall winner. SA songwriters can
contact the Council for further info on
08 8218 8440 or check out their website
at w w w. s a c c m . m u s i c p a g e . c o m
The Victor Harbor Folk Festival will be
held from September 28 to October 1 this
y e a r. A few changes to the format will
result in the festival being presented in
only seven venues but with a stro n g e r
focus on themes within the Festival rather
than a huge continuous series of
c o n c e rts/events. Focus points will include
E m e rging Artists, Community Events and
exciting new guests from overseas and
interstate. Some of the new acts include
B l a c k t h o rn (Tas), Va rdos, Bob Fox (UK)
and Jim Hescott (Canada).
V I C / TA S
Kirsty Rivers and Helen Aldridge
v i c t a s @ a p r a . c o m . a u
RIP THE CONTINENTA L. Melbourne is in
m o u rning after the loss of one of its
favourite venues, The Continental. The
doors closed on May 19. One of
A u s t r a l i a ’s most sophisticated live music
venues, The Conti’s velvet curt a i n s
opened for a host of national and intern -
ational tre a s u res – PAUL KELLY, KD
LANG, KASEY CHAMBERS, ALEX
C H I LT O N – the list is endless. The
v e n u e ’s unexpected closure came after
owners Mario DePasquale and Mario
M a c c a rone were unable to agree on a new
lease with the landlord. Over 500 people
attended the farewell part y. In a fitting
tribute to the venue, the highlights of the
evening (with the exception of the owners’
f a rewell speeches!) belonged to the staff
and the music, an all night, all star re v u e .
The Continental also hosted several APRA
events and the Melbourne branch off i c e
would like to thank the two Marios,
B e rn a rd, Leeann and all the staff at The
Continental for their professional and
personal touches that helped make these
events a success.
B a n d w o rx is a new Melbourn e - b a s e d
p romotional agency currently seeking
a rtists of all musical genres for gigs.
For further information contact Yv e t t e
Williams on 03 9823 4430 or
e m a i l @ m e l b o u rn e o ff i c e . c o m . a u
P romoter Neil Wedd is currently showcasing
new artists in Melbourne thro u g h
gigs at the 9th Wa rd and at the Esplanade
Hotel. Each night at the 9th Wa rd feature s
t h ree local unsigned artists and if
successful at the 9th Wa rd they are
o ff e red a gig at the Espy. For furt h e r
i n f o rmation contact Neil Wedd via email
on n e i l w e d d @ a c c i s . c o m . a u
a rtists around the state, onto the
mainland and intern a t i o n a l l y. The first
release on Fillet Records is titled M u s i c
F rom The Island and is a compilation of
world, folk and classical artists. If you
would like more information please visit
w w w. b i g f i s h m u s i c . c o m . a u
Look out for Kirsty and Helen from the
Victorian Membership office who will be
attending the Wangaratta Jazz festival
later in the year. Feel free to come and say
hello – or book a meeting if you would like
to discuss your membership while we are
t h e re. For more information ring the
M e l b o u rne off i c e .
Kirsty will be visiting Tasmania later this year.
Please contact the office on 03 9426 5200
if you would like to meet with Kirsty to
discuss your membership.
WA
Simone Hagemann
w a @ a p r a . c o m . a u
APRA New Members Info Session was
held at APRA’s Perth office in May and
was a great success. Many thanks to all
those who attended. Any new members
who were unable to attend should email
us to receive an Info Session pack
containing important industry inform a t i o n .
The Australian Songwriters Association is
c u rrently gearing up for its National Song
Contest to be run later in the year - WA
writers can call (08) 9485 1011 or email
a u s s o n g @ i i n e t . c o m . for a umore inform a t i o n .
Rock It 2001 Battle of the Bands sees
P e rth bands continue to compete in
WA’s biggest local band competition.
W I L B E R F O R C Eand SPENCER TRACEY
have already made it through and will
contest the final at The Lookout on
August 22.
A new Egroup has been established by
Jane Mitchell, Project Officer for
c o n t e m p o r a ry music at Art s WA, the
We s t e rn Australian State Government Art s
Funding and Advisory body. It is to be
used for posting messages about funding
o p p o rtunities and programs that assist the
development of musicians and the music
i n d u s t ry. For more information on Art s WA
and how to join the list visit their website
h t t p : / / w w w. i m a g o . c o m . a u / a rt s w a
Entries for SCALA’s 2001 FOOM (Festival
of Original Music) competition have now The 3rd Annual Vi c Tas Blues Music
The 6th Annual Central Station Dance closed and the hard work begins for the Aw a rds will be held on August 25 in
Music Aw a rds were held in May at the judges. The Live Section of FOOM will ru n Ballarat
Woolshed Inn and attracted a crowd of a month later than usual with live heats
The inaugural Melbourne Blues Festival
about 550 people. Winners included scheduled for August 9, 16 and 23 with
will be held in November, details are to be
C Y C L O I D (Local Producer of the Ye a r ),
the Grand Final on August 30 at The
c o n f i rm e d .
UNIVERSAL DUST (Live Act of the Ye a r ),
O ffice. All other winners will also be
DR DAMAGE (Upcoming DJ of the Ye a r ) announced on that night. To keep up to
BigFish Music in Tasmania has re c e n t l y
and DJ BRENDON who was inducted into date with SCALA news, their website is
launched its first label, Fillet Record s .
the Hall of Fame. Heaven was named w w w. s e n e t . c o m . a u / ~ s c a l a
Bigfish Music was set up by the
Best Nightclub (for over 500 people) and
D e p a rtment of State Development to
Rise for Best Nightclub (less than 500
develop, promote and distribute local
p e o p l e ). 22

APRA is an association of composers, authors and publishers of
music in Australia, New Zealand and the South Pacific having
affiliations with similarly constituted organisations around the world.
WRITER DIRECTORS:
Arthur Baysting [New Zealand]
Eric McCusker
Richard Meale LLD AM MBE
Jenny Morris
Chris Neal
Michael Perjanik [Chairman]
PUBLISHER DIRECTORS:
Saville Abramowitz
Warner/Chappell Music Aust. Pty Ltd
Robert Aird
Universal Music Publishing Pty Ltd
John Anderson
EMI Songs Australia Pty Ltd
Ian James
Mushroom Music Pty Ltd
Fifa Riccobono
J Albert & Son
Damian Trotter
Sony/ATV Music Publishing
CHIEF EXECUTIVE:
Brett Cottle LLB
DIRECTOR OF ADMINISTRATION:
Nicholas Hampton FCA
DIRECTOR OF FINANCE:
Alexander Jeliba Fasa Senior
DIRECTOR OF NZ OPERATIONS:
Mike Chunn
REGISTERED OFFICE:
6-12 Atchison Street,
St Leonards NSW 2065
Telephone: 02 9935 7900
Facsimile: 02 9935 7999
Email: apra@apra.com.au
Internet: www.apra.com.au
BRANCHES:
VICTORIA
3-5 Sanders Place,
Richmond VIC 3121
Telephone: 03 9426 5200
Facsimile: 03 9426 5211
QUEENSLAND
168 Barry Parade,
Fortitude Valley QLD 4006
Telephone: 07 3257 1007
Facsimile: 07 3257 1113
SOUTH AUSTRALIA
Suite 9, 30 Kensington Road,
Rose Park SA 5067
Telephone: 08 8331 7621
Facsimile: 08 8364 5340
WESTERN AUSTRALIA
177A York Street,
Subiaco WA 6008
Telephone: 08 9382 8299
Facsimile: 08 9382 8224
NEW ZEALAND HEAD OFFICE
92 Parnell Road,
Auckland, New Zealand
Telephone: 64 9 379 0638
Facsimile: 64 9 379 3205
PO Box 6315,
Auckland, New Zealand
APrap EDITOR:
Debbie Kruger
July APrap CONTRIBUTORS:
Jo Litson
APrap EMAIL:
krug@apra.com.au
The opinions expressed in articles
in APrap are not necessarily those
of the Australian Performing Right
Association. APrap is designed and
produced by Elastik Pty Limited.
Cover photo: Tony Mott.
© 2001 Australian Performing Right
Association Ltd, Sydney, Australia.
Print Post No: 55003/02262
ISSN: 1441-4910
APrap is printed on
environmentally
friendly paper.
NEW LOOK APRA WEBSITE
Have you logged on to www.apra.com.au lately?
APRA and AMCOS have consolidated their web presence and now offer enhanced
services to members and clients, improved business processes and superior site
structure and navigational systems.
Licensing and distribution information for both organisations is now available in one
central location. Along with registering and viewing their works online, members
can submit LPRs over the web. There is also a public works search facility, and
potential licensees may view rate cards and download licence application forms.
www.apra.com.au
Future developments for the site include online Cue Sheet application for members,
music producers and broadcasters, and online licence application and electronic
payment facilities. Potential writer members will shortly be able to apply to join
APRA online.
The reduced administration costs resulting from these online improvements means
more money is going direct to APRA and AMCOS members, in the form of royalty
payments.
A new Human Resources section offers information on job opportunities at APRA
and details employment conditions, benefits and APRA’s hiring policy.
The APRA/AMCOS website also continues to function as an essential resource hub
for music industry news and information, with an extensive Communications
section, an Industry Contacts guide and a wealth of information on copyright
legislation as it relates to music usage.