CLARE BOWDITCH - APRA

WE REMEMBER 

DOROTHY DODD 

apRap 

N E W S L E T T E R O F T H E A U S T R A L A S I A N P E R F O R M I N G R I G H T A S S O C I A T I O N D E C E M B E R 2 0 0 6 

THE 

SPELLBINDERS 

SCREEN COMPOSERS 

AND THEIR ART 

CLARE BOWDITCH 

WHAT’S MY SCENE? 

Photo by >> Warwick Baker

Anthea Sarris 

Brett Cottle 

Photo by >> Jan Kuczerawy Photo by >> Jan Kuczerawy 

EDITOR’S WRAP 

Even in the formal surrounds of Sydney’s City 

Recital Hall and The Westin Hotel, this year’s 

APRA-AGSC Screen Music Awards had the 

warm, familiar feel of a backyard barbeque 

(albeit a very sophisticated one!). The seasoned 

veterans and young guns of screen composition 

mingled, gossiped and generally ‘caught up’ at 

their annual gathering – a communal affair for 

what can be a very solitary craft. 

In this issue of Aprap we investigate the art, 

craft and challenges of writing music for the 

screen: we catch up with composers Richard 

Tognetti, Michael Yezerski, Amanda Brown, 

Mick Harvey and Bryony Marks in our feature 

article, The Spellbinders (p. 9-11); film critic 

and cinemaphile Andrew Urban explores the 

value of music in Australian cinema (p. 12); and 

we put spotlight the on Victoria Kelly – an NZ 

screen composer going global (p. 16). 

“Encouragement is one of the highest forms love 

can take,” said arts patron and philanthropist 

Barbara Blackman at this year’s APRA-AMC 

Classical Music Awards (p. 7). In this issue 

we’re thrilled to report on how some of APRA’s 

to the point 

As this edition of Aprap goes to press, the 

Senate Legal and Constitutional Committee 

has just issued its report on the Copyright 

Amendment Bill 2006. The Committee did a 

remarkable job of considering a Bill of more 

than 200 pages of complicated provisions in 

a very short turnaround time that permitted 

only four hours – yes, that’s correct, hours 

– of public hearings. 

The result was an 80-page report that 

devoted all of four paragraphs to the 

Bill’s most significant policy change; namely 

giving consumers a blanket right to copy 

recorded music into other formats for 

“private and domestic purposes”, without 

any compensation for songwriters, publishers 

or recording artists. The lack of interest 

in the issue on the part of the Senate 

Committee has been sadly indicative of a 

singular lack of Government interest in the 

idea of statutory compensation for copyright 

owners for private copying, despite the 

support of just about everyone in the music 

industry except the major record labels. 

encouragement is making a difference: check 

out the postcards from 2006 Professional 

Development Award winners Amira Pyliotis and 

Natalie Williams (p.3); and on p. 15 you’ll find a 

list of all the organisations and events that have 

received APRA music grants for 2006/07. 

Also in this issue we celebrate the achievements 

of Indigenous songwriters with a pictorial tour 

of the recent NT Indigenous Music Awards 

and the 12th Deadlys; and we farewell former 

APRA Chairman, Director and Writer member, 

Dorothy Dodd (p.18). 

My first gig as editor has been a blast. I hope 

you enjoy reading Aprap as much as Kirti, I and 

the rest of the editorial team enjoyed pulling 

it together. 

Best wishes for the holiday season - see you 

in 2007! 

Anthea Sarris 

(and presumably its recording artists) for 

unauthorised private copying of recordings 

onto Zune players. But it seems unlikely that 

there will be any contractual entitlement for 

songwriters or their publishers to share in 

such a private levy… which is exactly why 

there should be statutory levy on private 

copying media in Australia – including iPods, 

Zunes and other MP3 players – to guarantee 

equity to all music copyright owners, not 

just major record labels. Which only makes 

the Government’s peremptory disinterest in 

the subject all the more disappointing. 

Brett Cottle, CEO APRA 

Photo by >> Warwick Baker 

What is it you most value about music? 

The unpredictability of it, its beauty, the mystery of where 

it comes from, the joy of not knowing, and its universality. 

What are you currently working on? 

One new album, two new babies. 

What are you listening to? 

Art of Fighting, Stormy One and Hot Little Hands demos, 

also having a Thelonious Monk/Donny Hathaway revival 

at our house right now... 

What is your favourite film about music or is it a musical? 

Sheesh - it’s only partly about music; Bertolucci’s Beseiged. 

Stunning soundtrack. 

What is your favourite book/website about music? 

Pitchforkmedia.com 

What is the best live performance you’ve ever been to, 

whether you were performing or not? 

It’s an urban cliché now, I know, but as a teenager seeing 

Jeff Buckley play at the Palais for the first time, that blew my 

mind. Other most recent mind blowers include Gillian Welch 

and David Rawlings at Meeniyan Hall - oh brother. 

What is the quickest piece you have written and which piece 

took the longest to write? 

Yesterday I began work again on a song I’ve been writing 

for twelve years. As soon as I get an idea or an inkling that 

a song is coming on, I turn on my recording device and 

capture it. Quite often these original late-night or early 

morning versions are the ones that stand. 


PDA POSTCARDS 

AUSTRALIAN ORIGINAL MUSIC EARNINGS 

KEEP AN EYE ON ... JORDAN MILLAR 

CELEBRATING INDIGENOUS ARTISTS & MUSIC 

CELEBRATING PASSION, 

DEDICATION AND ARTISTIC TALENT 

HONOURING THE UNSEEN CHAMPIONS 

THE SPELLBINDERS 

Clare Bowditch 

Singer, songwriter, 2006 ARIA Award winner, APRA member since 1999. 


AUSTRALIAN FILM & MUSIC: 

AN URBANE PERSPECTIVE 

Who have been your greatest musical influences? 

John Hedigan, Defah Dattner and Marty Brown. 

Who would you most like to collaborate with and why? 

In Australia, at this moment in time, even after all these 

years, I’d still like Nick Cave to call and ask me to work 

with him on something. 

What’s your favourite piece (that you’ve written)? 

It’s usually whatever is most recent - at the moment it’s a 

song called Dog Back. But I also feel particularly fond of 

Homage to my Dad and the ABC, for obvious reasons. 

What piece written by another writer do you wish you had 

written, and why? 

I have a longstanding song-writer’s crush on everyone in 

The Drones, and I still can’t get over Shark Fin Blues. 

What is the quality you most admire in a composer? 

Ongoing and sustained brilliance/risk-taking punctuated 

only by periods of crippling self-doubt which is overcome 

again and again. This I admire. 

What is the best career advice you were ever given? 

Do what you love, not what you think other people 

will love. Know thyself, I guess it was. 

If you were not a composer, what might you have 

ended up doing? 

A poor but happy radio documentarian, an ethnomusicologist, 

a most frustrated and angry young woman. 

INTERNATIONAL NOTES 

MEMBER NEWS 

SCREENWRAP 

SUPPORTING THE ARTS 

GOING GLOBAL: VICTORIA KELLY 

PUBLISHER NEWS 

IN MEMORY OF DOROTHY DODD 

WHAT’S HAPPENING 

APRA NZ: 2006 APRA SILVER SCROLL AWARDS 

FOOD FOR THOUGHT. 

A P R A P D E C E M B E R 2 0 0 6 > > 0 2 

Accordingly, it was with a strong sense 

of irony that we were to read, just as the 

Senate Committee released its report, that a 

major record label had negotiated a private 

levy with Microsoft, to apply to each of 

Microsoft’s new Zune MP3 players, sold to 

the public. This levy will compensate the label 

2 4 6 8 10 12 14 16 18 20 22 

contents

PDAPOSTCARDS 

Our 2006 Professional Development Award 

winners report on how their APRA PDA grant 

has helped them achieve their music career 

ambitions. This issue features postcards from 

popular contemporary winner, Amira Pyliotis 

and classical winner Natalie Williams. 

>> Natalie Williams 

>> Amira Pyliotis 

Amira Pyliotis (Tecoma) 

Popular Contemporary 

Music 

Last New Years I decided 

this was going to be the 

year I’d finally record 

my debut album. After a full 

year of performing in 2005, 

when 2006 rolled around I 

was hungry for just enough 

silence and space to dream 

up the most beautiful record 

imaginable. I’d put in place a 

plan and a rough timeline and 

managed to secure the financial 

support of a mustering friend 

from Alice Springs; so the 

most important aspects of the 

record would be captured in a 

warm studio environment. But 

I was torn between moving 

to Melbourne, with its easy 

access to great musicians, 

my old music teachers, techheads 

and great recording 

facilities- and staying in Alice 

Springs where I’d been living 

and writing, to try and better 

capture the colours my songs 

had been conceived in. 

And then I won an APRA PDA. 

After getting over my initial 

disbelief and momentary 

hysteria (!!) my plans for the 

year quickly went out the 

window. The performance 

invitations that were part of 

being a PDA recipient (including 

a live TV performance in 

March, followed by the APRA 

awards in July) introduced me 

to musicians and songwriters 

I would never have met 

otherwise. Many of these 

people have ended up shaping 

aspects of my debut album 

in ways I might never have 

previously imagined. 

Winning the PDA also enabled 

me to buy sound equipment to 

experiment with arrangements 

and production of songs I’m 

working on, regardless of 

whether I’m on the road or at 

home. As well as giving me 

creative freedom I wouldn’t 

otherwise have had, it’s given 

me the capacity to record some 

of the most talented musicians 

I’ve had the good fortune to 

cross paths with over the past 

two years spent travelling and 

playing around Australia. 

By the time my debut album 

Home Brew is mastered, it will 

include performances from 

musicians captured in Alice 

Springs, Darwin, Sydney, 

Melbourne and a couple of 

places in between. But rather 

than the end result sounding 

like a musical modern day 

Prometheus, it’s sounding bit 

by bit like my dream line-up of 

musician friends have all been 

brought together and managed 

to make music. 

Next year after I release Home 

Brew, side projects include 

completing work on my 

contribution to a Gotye re-mix 

record, as well as spending 

time exploring the first of 

hopefully what will be many 

co-writing collaborations I 

began on a recent PDA-funded 

trip to the US. 

In a more subtle way, winning 

the APRA PDA has changed 

the way I regard myself as a 

musician and songwriter. I’ve 

begun to see myself as very 

much a part of the wider 

sphere that is the Australian 

music-making community, as 

opposed to a musician writing 

songs in isolation at the 

periphery of it. Collaborations 

seem a lot more possible; a lot 

less scary than they have in 

the past and seem to present 

an opportunity to continue 

learning about music outside 

of the classroom. While it 

doesn’t seem that the new 

challenges on the horizon 

ever stop coming, being a 

recipient of the APRA PDA has 

much better equipped me with 

resources to draw on in this 

life-long ambition of making 

music. Thanks APRA! 

Natalie Williams 

Classical Music 

In February 2006 I received 

two opportunities that 

have immeasurably changed 

my career as a composer. I 

was accepted as a graduate 

student into the Jacobs School 

of Music at the University of 

Indiana, and was also awarded 

the 2006 Classical Music 

category APRA Professional 

Development Award. 

Since August this year I have 

been studying for a Doctoral 

degree in Composition here 

at Indiana University (IU). 

The Music School boasts a 

student body of over 1,500 

which means lots of available 

performers for premiering new 

works. The school gives over 

1,000 concert performances 

each year, presents four opera 

seasons, three ballet seasons 

and concerts and recitals by 

one if its five full-time student 

orchestras. 

Our compositional activity 

is centred around a busy 

schedule of recitals at which 

each composition student is 

required to present new works 

written while at IU. One of my 

solo flute pieces Haiku, written 

while I was an undergraduate 

in Adelaide, was performed at 

an IU recital in October – my 

first overseas performance. 

The composition faculty are 

incredibly supportive and 

inspiring and I’m currently 

working with Professors 

Claude Baker and David 

Ward-Steinman. 

Opportunities for collaboration 

and new creative work are 

endless. The composition 

school is working in partnership 

this semester with the IU 

School of Dance in a project 

titled: Hammer and Nail, 

where composers are paired 

with student choreographers 

to jointly create and design 

new works for dance and live 

instrumental performance. 

IU has a resident New Music 

Ensemble which is devoted to 

the performance and premiere 

of new works written largely 

after 1950. In early December 

they will conduct ‘reading’ 

sessions with selected IU 

composers, which is a great 

way to get to know the student 

performers and hear our music 

workshopped in a high-level 

performance setting. 

Each semester up to four 

visiting composers of 

international stature are 

invited to IU to present their 

works and give masterclasstype 

composition lessons to 

students. In October I had the 

chance to work with Lansing 

McKloskey and in November 

I studied with Bernard Rands, 

a Pulitzer Prize winning 

composer, currently based in 

Chicago. 

Upcoming events which we 

will be participating in as IU 

students include, the Mid- 

West Composers Symposium 

in early 2007, the IU String 

Quartet competition and 

the ‘Music for Kids’ project. 

The latter involves working 

with music students from 

a local primary school and 

orchestrating some of their 

own melodies for symphonic 

or wind band ensembles, to be 

later premiered on campus. 

I’m currently working on two 

orchestral pieces; one for the 

Adelaide Symphony Orchestra 

early next year and one for 

the Advanced Orchestration 

class. I’m also writing some 

smaller instrumental works for 

trombone solo and a chamber 

piece for the IU Recorder 

Ensemble. Amongst an existing 

schedule of graduate theory 

and musicology classes, this 

certainly keeps me busy. 

In early November I was 

invited to present a seminar, 

for the Graduate Composition 

Masterclass, on Australian 

Contemporary Classical Music 

which was an excellent way to 

introduce my IU colleagues to 

the rich heritage of Australian 

composition and speak about 

recent trends and emerging 

voices down under. The 

atmosphere amongst the 

faculty is extremely collegiate 

and supportive and the staff 

and students have welcomed 

me as ‘the’ Australian graduate 

student for 2006. 

The support of the APRA PDA 

award has made possible for 

me this study and relocation 

to North America. Without 

this financial support to 

cover flights, university fees, 

textbooks and registration 

costs, it simply wouldn’t be 

possible for me to have made 

this move. This invaluable 

aid has opened up so many 

new doors and will enable 

me to train at the highest 

international level, eventually 

bringing these skills back to 

Australia. 

Thankyou APRA for making 

this possible and supporting 

my work at this international 

level. 

A P R A P D E C E M B E R 2 0 0 6 > > 0 4

The APRA|AMCOS 

annual report 

documents 

are available 

online at: 

www.apra.com. 

au/corporate/ 

DocsPolicies.asp 

APRA|AMCOS The Year 

in Review 2005-06 

This document presents 

a summary of the 

achievements and key 

issues faced by the 

Australasian Performing 

Right Association and the 

Australasian Mechanical 

Copyright Owners Society 

over the past financial year. 

It features messages from 

Mike Perjanik, Chairman 

of the APRA Board and 

Ian James, Chairman of 

the AMCOS Board, plus, 

a report from APRA|AMCOS 

CEO, Brett Cottle. 

APRA Annual Financial 

Report: 30 June 2006 

This report presents the 

financial results of the 

Australasian Performing 

Right Association for the 

year ended 30 June 2006. 

It features a report from 

the Board of Directors, 

plus financial statements 

as prepared by APRA’s 

auditors. 

AMCOS Annual Financial 

Report: 30 June 2006 

This report presents the 

financial results of the 

Australasian Mechanical 

Copyright Owners Society 

the year ended 30 

June 2006. It features a 

report from the Board of 

Directors, plus financial 

statements as prepared by 

AMCOS’ auditors. 

APRA has declared total 

revenue of $127.2 million 

(net of management fees) 

for the 2005/06 financial 

year, a growth of 2.9% 

over the previous financial 

year. AMCOS returns for 

the 2005/06 year rose by 

8.8% to $41 million, bringing 

consolidated APRA|AMCOS 

revenue to a new high of 

$168.2 million. 

APRA|AMCOS’ final figure 

for net distributable income 

accorded almost exactly 

with budget forecasts, owing 

to solid growth in some 

licensing areas and continued 

restraint in expenditure. This 

was despite the adverse 

effect of a number of factors 

– principally a softening in 

broadcast advertising revenue, a 

precipitous second-half decline 

in the value of the NZ dollar, a 

continued decline in cinema box 

office and some major concert 

tour cancellations. 

APRA distributed a total of $110.3 

million during the year, a 6.3% 

increase on the previous year, 

AMCOS distributed a total of 

$35million, an increase of 25%. 

A total of 19,271 members 

received a royalty allocation 

from either APRA or AMCOS 

during the year, while 104,307 

members of affiliated societies 

around the world received an 

allocation. 

APRA now has more than 

44,000 members, comprising 

43,856 writer members 

resident in Australia or New 

Zealand, and 437 publishers. 

AMCOS represents 577 writers 

and 282 publisher members. 

Overall, membership of both 

organisations grew by 11.9% 

during the year. 

Expense to revenue ratio 

APRA’s costs (net of the costs 

of administering the AMCOS 

mandate) amounted to $16.3m 

or 12.8% of gross revenue; its 

lowest ratio ever. 

Australian 

original 

music 

earnings 

steady + 

on track 

APRA|AMCOS 

FINANCIAL 

PERFORMANCE 

2005-06 

By Kirti Jacobs, APRA 

Communications 

Positive aspects of 

APRA|AMCOS’ revenue 

collection for 2005-06 

REVENUE AT A GLANCE 

u Licence fees from pay 

television grew by 12.5% 

to $8.2 million, despite 

low market penetration 

(in Australia only 25% of 

households have pay-tv) 

u APRA’s online revenue 

(principally webcasting and 

ringtone transmissions) 

grew by 158.3% to $1.2million 

– the first time we’ve 

surpassed the $1 million 

figure. Likewise, AMCOS 

achieved a similar figure for 

the year, with the arrival of 

the Apple iTunes service in 

Australia (but not yet in New 

Zealand). When ringtone and 

other mobile applications are 

aggregated, AMCOS’ new 

technology income is now 

well in excess of $6m, or 

15% of total revenue. 

u General public performance 

revenue (including cinemas) 

in New Zealand rose 

– despite the fall in the 

currency – by nearly 10% 

during the year, to A$2.4 

million. 

u Foreign revenue was 

maintained at $17.2 million, 

despite a comparatively 

strong Australian dollar and 

a challenging international 

environment for collections 

generally. 

u APRA concluded new 

long-term agreements with: 

• the Pay-TV industry, under 

which per subscriber fees 

will increase substantially, 

• the hotel, club, restaurant 

and fitness industries, in 

respect of background 

recorded music, where 

fixed annual fees will 

increase, phased in over 

three years, and 

• the cinema industry, where 

licence fees will similarly 

increase phased in over 

three years. 

u The re-licensing of premises 

covered by the latter two 

schemes will involve the 

termination and re-institution 

of more than 16,000 individual 

licence agreements. 

uDuring the year APRA’s 

case for substantial 

increases in licence 

fees paid by retail 

establishments for the use 

of recorded music was 

heard by the Copyright 

Tribunal. As this report 

is being prepared, 

we are awaiting the 

Tribunal’s determination. 

Approximately 32,000 

businesses throughout 

Australia will be affected 

by the decision. 

MECHANICAL 

LICENSING REVENUE 

u On the mechanical right 

side, AMCOS negotiated and 

concluded a new long-term 

physical product licence 

scheme during the year. The 

scheme covers CD, DVD and 

hybrid mixed-content formats. 

The agreement preserves the 

existing audio and audiovisual 

rates applicable under 

the statutory mechanical 

licensing provisions (and 

voluntary extensions thereof) 

at 8.7% and 6.5% of PPD 

(Published Price to Dealer) 

respectively, and applies 

those rates at an individual 

track level for mixed content 

productions. 

keep an eye on 

>> Photos by Helen Page 

At the youthful age of nineteen, Jordan 

Millar is one of Australia’s most refreshing 

new singer/songwriters and the winner of 

Most Promising Tasmanian Act at the 2006 

Amplified Festival. 

Jordan started off playing regular gigs in 

his home town of Hobart, and has honed his 

skills as a performer, capturing his audiences 

with his impressive guitar chops and melodic, 

intelligent songwriting. Word of mouth has 

delivered him a solid fan base with more than 

300 people attending the launch of his debut 

EP release, Wishful Thinking. 

12TH DEADLYS 

This year’s National Aboriginal and Torres Strait Islander 

Awards were hosted by Ernie Dingo at the Sydney Opera 

House. The event featured performances by legendary 

Koori singer/songwriter Bobby McLeod, Broome 

superstars Pigram Brothers and Torres Strait chanteuse, 

Cindy Drummond. 

Troy Cassar-Daly took out Music Artist of the Year and 

Single of the Year for Lonesome But Free. The Pigram 

Brothers won Album of the Year for Under the Mango Tree, 

Troy’n’Trevelyn & The Tribe won Band of the Year. The 

Jimmy Little Award for Lifetime Achievement in Aboriginal 

and Torres Strait Music was awarded to Roger Knox. 

>> Kenbi Dancers 

>> Warren H Williams and band 

>> Warren H Willams, 

Ebony Williams and 

Henley White. 

Jordan Millar 

In 2005 Jordan performed at the Falls Festival 

and was a support act for Delta Goodrem and 

Tim Freedman. This year, in addition to his 

win at Amplified, he has won an award at 

the Australian National Youth Week RockIT 

Industry Awards and performed at the 

Songwriters Showcase at The Basement, 

Sydney. 

For more information, go to 

www.myspace.com/jordanmillar 

>> Photos by Wayne Quilliam 

>> Jordan Millar 

Celebratingindigenous 

ARTISTS & MUSIC 

>>June Mills 

>> Yilila 

>> Tom E and Grace Lewis 

>> Gurrumul Yunupingu 

>> Edmond Nundhirribala 

>> Dancers at the 12th Deadlys 

NT INDIGENOUS 

MUSIC AWARDS 07 

>> Troy N Trevelyn >> Troy Cassar-Daly 

>> Pigram Brothers 

More than 2000 people packed out Darwin’s Amphitheatre 

for the third annual Northern Territory Indigenous Music 

Awards. Ebony Williams, APRA’s Indigenous Project Officer 

was on hand to present Warren H Williams with the Song 

of the Year Award for his hit Learn My Song. Other winners 

on the night included June Mills (Best Female Musician) 

and White Cockatoo (Traditional Music Award). Task from 

hip-hop group North Coast Clique won the New and 

Emerging Act award, while Yilila from Numbulwar won the 

Act of the Year award and the band’s lead vocalist, Grant 

Nundhirribala won Best Male Musician. Top End group 

Soft Sands and the Warumpi Band, from central Australia, 

were inducted into the Indigenous Music Hall of Fame. 

>> Sharnee Fenwick 

A P R A P D E C E M B E R 2 0 0 6 > > 0 6

2006 APRA-AMC CLASSICAL MUSIC AWARDS: 

Celebrating passion, dedication and artistic talent 

2006 APRA-AGSC SCREEN MUSIC AWARDS: 

Honouring the unseen champions 

>> Christopher Wilcock and John Crawford 

>> David Chesworth Ebsemble 

>> Gillian Armstrong and Peter Best 

>> Garry McDonald 

>> Peter Sculthorpe and John Crawford 

>> Carl Vine and 

Mary Jo Capps from 

Musica Viva 

>> Orchestra performs music f 

or Crocodile Dundee 

>> Eric Chapus and Paul Mac 

Photos by >> David Otott and Damien Ford 

Photos: Tony Mott 

The 2006 Classical Music Awards 

were presented on Monday 7 

August, at the Sydney Theatre 

in The Rocks. At an event 

broadcast live across the country 

on ABC Classic FM, ten national 

awards, five state awards and the 

prestigious Distinguished Services 

to Australian Music award were 

presented and guests enjoyed 

performances from some of 

Australia’s leading contemporary 

classical musicians. 

Musica Viva Australia – the world’s largest 

entrepreneur of chamber music - was 

presented with the 2006 Distinguished 

Services to Australian Music award. 

Joining the likes of Anne Boyd, Miriam 

Hyde, Robert Hughes and Richard Meale, 

this prestigious award recognises their 

enormous contribution to Australian music 

over the past sixty years, including the 

commissioning of almost 100 new works. 

“Musica Viva is the sum total of the passion, 

dedication and talent of all the people that 

have gathered in its name, to advocate 

and celebrate Australian music for over 

six decades,” said James Strong, Chair of 

the Australia Council for the Arts, in his 

introduction to the 2006 winner. 

The award was accepted by General 

Manager, Mary Jo Capps and Artistic 

Director, Carl Vine. 

The Works of the Year categories were won 

by: David Chesworth for his instrumental 

composition, Panopticon; Peter Sculthorpe 

for his orchestral work, Cello Dreaming; and 

Christopher Willcock and Michael Leunig 

won Choral/Vocal Work of the year for 

excerpts of their work, Southern Star. 

Arts patron, philanthropist and avid 

concertgoer, Barbara Blackman, collected 

the Outstanding Contribution by an 

Individual award. In 2005, her philanthropy 

totalled $1 million in support of fine music 

in Australia. 

“Encouragement is one of the highest forms 

that love can take, so my intention is the 

encouragement of audience. Because an 

audience that is alert, attentive, eager and 

informed, brings out the best in composers 

and musicians. Courage begets courage and 

we’re all in it for love,” said Ms Blackman in 

her moving acceptance speech. 

High and low culture mash-up group CODA, 

opened the evening’s proceedings with their 

performance of the tongue in cheek tribute 

to Robert Palmer, Palms of Shangrilah. 

Other performances during the evening 

included the remarkable Sydney Children’s 

Choir under the direction of the renowned 

musician and arts patron, Lyn Williams, 

winner of the State Award for NSW. 

Genevieve Lacey and Richard Haynes, 

from the internationally acclaimed ELISION 

group, performed works by John Rodgers 

for recorder and bass clarinet. Later in 

the evening, Genevieve received the Best 

Performance of an Australian Composition 

award for her performance of James 

Ledger’s Line Drawing with the West 

Australian Symphony Orchestra. Richard 

won the award previously in 2004. 

The audience was transfixed by Floating 

World, composed by David Chesworth 

(Instrumental Work of the Year winner) 

and performed by the David Chesworth 

Ensemble. Closing the evening, leading 

chamber ensemble and Musica Viva regulars, 

Sydney Soloists, performed Richard Mills’s 

A Little Diary of Transformations. 

Hosted by ABC Classic FM’s Julia Lester 

(Drive), the 2006 Classical Music Awards 

were presented by industry luminaries such 

as Kenneth Tribe, James Strong, Brett Dean 

and Kathy Keele in front of 400 guests. 

For a full list of winners, 

go to www.apra.com.au/awards 

“The great thing about coming 

to this Awards Ceremony is 

clocking people like Grabowsky, 

Bridie, Best and lots more. 

People who have made the 

stories we tell, completely 

memorable. I believe you guys 

articulate the soul of the stories 

that are told in this country.” 

PENNY CHAPMAN, Producer and presenter at the 

2006 APRA-AGSC Screen Music Awards. 

The Australian screen and music industries 

gathered in November to pay tribute to 

their unseen heroes; screen composers. 

Held at the City Recital Hall, Angel Place, 

and proudly presented by APRA and the 

Australian Guild of Screen Composers, 

the event was hosted by Myf Warhurst 

and Alan Brough. 

The audience was treated to live 

performances of selected nominated 

compositions. The 13-piece orchestra 

was conducted by legendary composer 

(and award winner for Best Music in a 

Documentary), Paul Grabowsky. 

Gillian Armstrong presented veteran 

composer Peter Best, with the prestigious 

2006 International Achievement Award. 

Peter is arguably Australia’s most prolific 

film, television and jingle writer, with a 

list of impressive credits spanning three 

decades. Highlights of his stellar career 

include score for the worldwide smash 

movies, Crocodile Dundee I and II, Muriel’s 

Wedding plus We of the Never Never, High 

Tide, Doin’ Time for Patsy Cline and Bliss. 

Reflecting the camaraderie and the sense 

of community of the gathering, Peter 

noted wryly in his acceptance speech, 

“On awards nights we can mingle with 

the only people in the industry who 

understand and appreciate the value 

of screen music – ourselves.” 

The coveted Feature Film Score of the 

Year went to Francois Tetaz, whose eerie 

screen composition brilliantly matched the 

isolating tension of Australian box office 

hit, Wolf Creek. 

The two awards determined by statistical 

analysis were Most Performed Screen 

Composer – Australia, won by Jay 

Stewart, and Most Performed Screen 

Composer – Overseas, won by Garry 

McDonald & Laurie Stone for the second 

year running. 

A number of contemporary music artists, 

have turned to screen composition over the 

years with great success. Icehouse founder, 

Iva Davies won the award for 

best Music for Mini Series or Telemovie 

for The Incredible Journey of Mary Bryant. 

The multi-talented David Bridie won Best 

Soundtrack Album for R.A.N.; and ex- 

Models member Roger Mason won Best 

music for Television Series or Serial for 

Peking To Paris. 

Other winners on the night included 

Christopher Elves for Best Music for 

Children’s Television for Faireez – Episode 

40. Michael Yezerski won Best Original 

Song Composed for the Screen for 

Thursday’s Fictions – ARIA. Elliott Wheeler 

won Best Music for an Advertisement for 

McDonald’s Inner Child. Jonathan Nix 

received the award for Best Music for a 

Short Film for Gustavo and Andrew Hansen 

won Best Television Theme for The Chaser’s 

War on Everything. 

Encapsulating the commitment and support 

from APRA and the AGSC for Australia’s 

screen composers, APRA CEO Brett Cottle 

said, “Most of us could probably write the 

soundtrack to our lives, but we don’t have 

to because the people we are honouring 

here tonight have already done it for us. 

That’s why we have these awards.” 

For a full list of winners, 

go to www.apra.com.au/awards 

A P R A P D E C E M B E R 2 0 0 6 > > 0 8

Richard Tognetti. Photo by Paul Henderson-Kelly 

courtesy of ABC Classics 

>> Cape of Storms 

>> Cape of Storms 

>> Michael, Richard, Afro, Tom & Jim >> Amanda Brown 

S C R E E N C O M P O S E R S A N D T H E I R A R T 

Compiled by Kirti Jacobs and Anthea Sarris, APRA Communications 

According to the Australian Film Commission* twenty-five Australian 

features started production in 2005/06. This is the most since the turn 

of the decade and more than the five-year average. The budgets of these 

films increased from $66 million to $98 million. More films mean more 

work for Australia’s screen composers and hopefully are a sign of a 

more prosperous period for Australia’s film and film music creators. 

We spoke to five writers who have 

arrived at composing for the screen 

in quite different ways. Their screen 

credits reflect not only their breadth and 

depth of talent, but also the diversity of 

musical styles employed on Australian 

film and TV productions. Aprap turns the 

spotlight on the art, the craft and the 

challenges of composing for the screen. 

*National survey of feature film and TV drama 

production 2005/06. 

Cape of Storms smooth 

sailing for composers 

“Art for art’s sake is a rare and 

wonderful thing. This film was art 

for art’s sake.” 

Richard Tognetti, Artistic Director and 

Lead Violin for the Australian Chamber 

Orchestra, is talking about Horrorscopes: 

Cape of Storms, a Quiksilver documentary 

about surfing the world’s biggest waves 

off South Africa’s Cape of Good Hope. 

Directed by Justin McMillan and Chris 

Nelius, it features a team of crazy bigwave 

surfers including Australians Tom 

Carroll (who got Tognetti into the film) 

and Ross Clarke-Jones, taking on the 

fearsome, shark and kelp infested waters 

off the Cape. The soundtrack is an original 

score by Tognetti, co-composer with Iva 

Davies and Chris Gordon for Peter Weir’s 

Master and Commander, and Michael 

Yezerski, composer Newcastle, Kenny, 

No Surrender, Thursday’s Fictions. 

A score for 

a time and place 

Featuring vocals by Afro Moses (credited 

as a co-composer), the Cape of Storms 

score captures the mythic and legendary 

character of the setting and the surfing 

adventure. 

The sense of journey and place were 

important inspirations for both Yezerski 

and Tognetti. 

“With Cape of Storms, we wanted this 

feeling of awe and incredible journey; of 

being very alone and human and pitted 

against the almighty force of the ocean.” 

says Tognetti. 

It helped that surfing imagery lends 

itself very well to music. As Yezerski 

says, “It is a graceful and beautiful 

activity, with movements not dissimilar 

to dance. We were able to take our 

cues from the rhythms and tempi of the 

surfers and the waves.” 

Screen composing: 

a collaborative labour 

of love 

Tognetti counts himself lucky to have 

been involved in two films thus far: “The 

best way to make art is without ambition. 

Ambition often gets in the way. Screen 

composing is applied music. You have to 

be incredibly fleet of foot. You have to 

be able to change course and direction, 

really quickly.” 

Yezerski adds, “Screen composers must 

be able to engage socially – and enjoy 

it! In my experience, producers and 

directors don’t tend to want to work with 

‘artistes’ who simply dispense music from 

their ivory towers. Screen composers are 

always part of a team and cannot create 

their music in a vacuum.” 

That said, it’s important to hold on to 

your ideas. Tognetti: “David Lynch once 

said if you give up on an idea because 

some executive says it’s not going to 

work, you lose the kernel that created 

the seed, the gestation that created 

the whole life force. Watching Peter 

Weir work with his inspiration within 

this maelstrom of business distraction 

[for Master & Commander] – that 

emboldened me. The idea is the most 

important thing. Never ever give up 

on it, even though you might have to 

change the way it comes across.” 

Amanda Brown: 

the Go Between who 

Looked Both Ways 

Renowned as the violinist with 

The Go Betweens during their 

classic era, Amanda Brown is also 

a sought after session musician 

and screen composer. Her screen 

credits include Look Both Ways, 

Preservation, Floodhouse. 

How does your Go Betweens experience 

inform your work with film? 

Playing in bands taught me to improvise, 

and composing is like controlled 

improvising. I have also built up a 

wonderful stable of musicians and friends 

that I call on for various projects. 

How does one build a sustainable career 

out of screen composition? 

You don’t work in the arts in Australia 

for monetary gain! What works for me 

has been versatility. There are bound 

to be lean times so it helps to be multi 

skilled. I do a number of part time 

jobs, including session work for other 

bands, studio engineering and teaching. 

Because they’re all music related, I’m 

always learning and being inspired by 

these ancillary jobs. 

What are some of the challenges of 

composing for film? 

Film music in one part of a collective 

whole art form and has to support the 

storytelling of the film. There will be 

times when the music will be drowned 

out by sound effects or relegated to the 

cutting room floor so you have to check 

your ego at the door. Technically the 

look and narrative of the film suggest 

certain parameters in regards to tempo, 

arrangement and style. 

How do you “read” a film before you 

begin to compose? 

Usually the director has a definite idea 

of where the music cues should fall and 

sometimes of musical style as well. I 

try to find the right instrumentation 

first, depending on the period of the 

film and what suits the characters and 

storyline. Then I find the tempo for the 

scene, and think about whether leitmotif 

or underscore is appropriate and then 

I make my first painstaking tentative 

forays onto the blank canvas. 

How does music function as a part of 

the drama of story telling? 

Music can work in all kinds of ways, 

supporting the drama, reinforcing 

themes, even going completely against 

convention to create parody or the 

complete opposite of what is happening 

visually. The way music can change a 

scene constantly amazes me. 

How do you know when you’ve been 

successful? 

When the scene I’m working on is 

improved by the presence of music. 

There is this intangible moment when 

the visual and the aural combine to 

create something I can only describe as 

magical, almost like being suspended in 

time, spellbound. 

A P R A P D E C E M B E R 2 0 0 6 > > 1 0

By what measure do we assess the overall health or success of 

Australian filmmaking? It certainly isn’t the year to year swings 

in perceived quality of a year’s production. If taxpayers finance 

production primarily for cultural reasons – as distinct from a profit 

motive, for which, heaven knows, there are scant prospects – then surely we 

should evaluate the films made under that regime on cultural terms. Are they 

telling stories that are relevant and compelling, and are they (or some of them) 

of lasting value? While Hollywood calibrates its output at the box office – with 

a cherry on top at the Oscars - Australian films cannot be judged successful 

or otherwise simply by the box office criterion; that is just a measure of their 

popularity, not their cultural value. 

>> Mick Harvey. Photo by Stephen McKenzie. >> Bryony Marks. Photo by Matthew Saville. 

And other than the subjective opinions we all have, what makes up this cultural 

value? Does a story have to be about Australia or Australians? Or is it enough 

that it is told by Australians, automatically ensuring that it is told from our 

unique perspective? I opt for the latter and suggest that the complex mix of 

narrative, character, mise en scene and music are the principal elements that 

combine to create a unique cultural framework for each film. And while I have 

listed music last, in this list all the elements carry equal responsibility and 

equal authority. 

Rocking the suburbs 

with Mick Harvey 

“Most musicians fancy the idea 

of writing music for a film. You 

expect any musician to see that as 

something fun or interesting to do. 

Whether you are good at it or not 

is another issue I suppose,” muses 

Mick Harvey. 

Arranger, composer and co-founder of 

Nick Cave and the Bad Seeds and The 

Birthday Party, Harvey found his way to 

composing film scores through networks 

of arts contacts in Berlin in the 80s. 

Released in October, and nominated for 12 

AFI Awards including Best Original Screen 

Score, Suburban Mayhem marks his second 

collaboration with director, Paul Goldman. 

“Paul is an old friend and we kind of came 

out of the same scene really. He was 

studying film in Melbourne when our bands 

were starting off and shot a few clips for 

us. When he finally wanted someone to do 

his score for Australian Rules, he asked me 

if I was interested. We had a good working 

relationship on the first film, so Suburban 

Mayhem just followed on from that. 

Suburban Mayhem is a black comedy that 

follows the path of destruction and havoc 

wrecked by teenage monster, Katrina. 

Harvey’s score blisters with loud, dark 

rock underscoring the anger and appetite 

of a young woman spiralling out of 

control. The soundtrack also features 

scorching covers of Double Dare and Sex 

Beat, produced by Harvey and performed 

by Magic Dirt’s Adalita. 

Harvey views creating a film score as a 

way of adding texture to areas of a film 

that need assistance or are crying out 

for juxtaposition. “It’s an opportunity to 

provide an expansion of the information 

through what the music can bring.” 

Although he goes on to point out that 

the composer doesn’t always control 

how their music is finally presented. In 

reference to Suburban Mayhem he explains, 

“Conceptually I would have liked to have 

had more say in the type of source music 

(pre-existing songs) being used, to create 

an overall musical pattern or aural concept.” 

He notes, philosophically, “it just didn’t 

work out that way... it’s a tough one.” 

Making noise 

Newcomer Bryony Marks tracks 

her journey to her first feature film. 

“I know it’s a cliché but you do this because 

you love it; it’s often not very lucrative and 

it does take a long time to get anywhere,” 

remarks Bryony frankly. Having worked on 

over twenty films and numerous chamber 

and theatre pieces since 1996, it’s only 

been in the past three years that Bryony 

has been able to ‘make a living’ from screen 

composing. 

Commercial success has come in the form 

of scoring the first block (three episodes) 

of the Network Ten drama The Surgeon, a 

collaboration with Chris Lilley on the sixpart 

ABC mockumentary, We Can Be Heroes, 

plus nominations for Best Television Theme 

and Best Original Song Composed for the 

Screen (for Indigeridoo) at the 2006 APRA- 

AGSC Screen Music Awards. 

“We Can Be Heroes was my first TV 

gig (not including commercials). Chris 

wanted the series to present as a genuine 

documentary; he didn’t want music that 

made it sound like a comedy. He had heard 

CDs of my ‘serious’ music, took a bit of a 

leap of faith and chose me to do the score. 

Chris and I worked really well together, 

creating Indigeridoo (he wrote the lyrics, I 

wrote the music) was just too much fun – it 

all just flowed.” 

Bryony has also just completed work on 

the score for her first feature film. Noise, 

due for release in 2007, is a collaboration 

with her film-maker husband, Matthew 

Saville. 

“Noise was my first orchestral film score. 

Having not had the opportunity to write for 

a larger ensemble since uni, I was pretty 

anxious about this score. I have never 

started writing again so many times, but it 

feels like it has been worth the effort.” 

Bryony describes Noise as a very unusual, 

special and intense project. She became 

very well acquainted with the script over 

the ten years of development by Saville. 

“It is unusual to be involved in a film from 

so early on, and I certainly felt that I knew 

the film intimately by the time I started 

writing. Once pre-production commenced 

we talked about musical ideas the whole 

way through. While the film was being 

edited, I wrote sketches on the piano. 

Although Matthew and I both liked them, 

there was so much work involved in getting 

the tone just right that the end result is 

unrecognisable.” 

Bryony’s passion for her craft and her art 

is infectious: “What I find challenging and 

fascinating - and why I am interested in 

doing film music - is that you get to add a 

whole layer, an entire thread to the overall 

picture. When you’re lucky enough to 

work on a quality production, you get the 

opportunity to contribute in a considered 

way to the film’s intent, and not just give a 

literal response to the action.” 

“I read somewhere that every artist paints 

the same picture, writes the same story or 

the same song over and over again. In a 

way, that’s how I feel about my music; it’s 

always about working through how I feel 

about being in the world.” 

Music, which I call the intravenous artform for its visceral ability to create a 

specific mood in an instant, is perhaps the most complex of them all - and 

perhaps the least appreciated by the public and even some filmmakers. I have 

heard many stories from composers around the world about the cavalier 

attitude of some directors and producers to the score. That attitude is often 

exhibited through the afterthought nature of the budget allocated for original 

music. The relative scarcity of film score work in Australia makes this a 

particularly challenging aspect of film composing. 

The fact that Australian composers have risen to these challenges in a creative 

sense is notable. It’s true that the ‘value’ of music to a film is intangible and 

incalculable, it is nevertheless enormous – hardly an original proposition. 

You’d be like a caterpillar up wolf creek without a machete in half light if your 

score didn’t touch the right nerve, considering that film needs both intellect 

and emotion to engage us. 

For example, Cezary Skubiszewski’s unique and striking score for The Book 

of Revelation – with Paul Pirola’s excellent sound design – characterises the 

excellence of the creative force at work in Australian film composition - and they 

are not alone, as many of this year’s film scores demonstrate. (Skubiszewski’s 

score for Ana Kokkinos’ The Book of Revelation won the award for Best Score 

at this year’s Film Critics Circle of Australia Awards, and is nominated in the AFI 

Awards – presented December 6 & 7.) 

As Skubiszewski points out, the Australian psyche seems to respond best to the 

sounds of a rock guitar. Americans like big production numbers and the Brits 

like pop songs – these are generalisations, to be sure, but useful ones and 

Skubiszewski’s diverse range of scores often pay heed to this understanding 

of the audience. The rock guitar pops up even in the score for The Book of 

Revelation, where he uses the musical colours of a string quartet and three 

voices for much of the film, with jazzy backgrounds. 

The cue at the start of the film, for example, creates complex visceral expectations 

in the viewer, combining an urge to explore, a sense of dread... with a hint of 

mystery. This segues into a driving piece of modern dance music for the rehearsal 

scene, showing dexterity and great diversity in the composing. 

Later, when the mood changes in the final act, the sense of tentative optimism is 

echoed in a switch to the colours of woodwinds (two flutes, two clarinets) and 

some piano. Subtle yet strong, the music seems perfect for the images. 

In my view, the high standard of Australian composing for the screen plays a 

significant role in our screen culture and filmmakers who understand this find 

their films enhanced and elevated by the music – something that is certainly 

one test of a film’s lasting cultural value. 

Andrew Urban created and interviews for SBS TV’s popular Front Up series. 

He is Channel Host for the World Movies Channel and a presenter for Movies 

This Week, Ovation & World Movies Channels. He is also the Editor of 

www.urbancinefile.com.au, an award-winning, weekly online movie magazine. 

Australian 

film & 

music: 

an Urbane 

perspective 

By Andrew L. Urban 

A P R A P D E C E M B E R 2 0 0 6 > > 1 2

INTERNATIONALNOTES 

MEMBERNEWS 

Photo by >> Jan Kuczerawy 

Regional cooperation on on-line 

licensing. 

The Asia Pacific regional offices of CISAC 

(International Confederation of Societies 

of Authors and Composers) and BIEM 

(International Bureau for Mechanical Rights 

Societies) met in Manila in September to discuss 

developments and improve cooperation in 

online licensing. The meeting was hosted by the 

local society FILSCAP. 

Copyright still young in 

tech-savvy Asia-Pacific 

In many territories in Asia, copyright societies 

such as APRA are relatively new and the 

industry infrastructure and licensing capacity 

are being developed. This is in contrast to the 

explosion of new digital music services that 

are being rolled out in those territories. Mobile 

entertainment services in places such as Japan 

and Korea are leading the world. 


Indigenous arts industry 

development 

By Scot Morris, 

Director 

International 

Relations, APRA 

By Sally Howland, 

Director Member 

Services, APRA 

At the time of going to press, the Australia 

Council for the Arts announced that APRA would 

be an industry partner in the ATSIA Board’s 

Indigenous Songs Music Bound strategy. 

The initiative will be developed and 

implemented over two years in conjunction 

with WAM (West Australian Music Industry 

Association), Abmusic, Goolari Media and 

Songlines. Although the strategy is still 

being finalised, two key areas of focus will 

be developing infrastructure and profiling 

opportunities. APRA’s interests are grounded 

in the belief that the rights of Indigenous 

composers and songwriters should be 

respected, protected and promoted. We hope 

that through our efforts we will assist in the 

cultural and economic development of our 

Indigenous members. 

Any enquiries on the above should be directed to 

APRA’s Indigenous Project Officer, Ebony Williams, 

on 1800 642 634. 

In territories such as China – new digital 

services are ‘leapfrogging’ the traditional 

entertainment services, yet copyright law and 

licensing are lagging behind. To address these 

challenges, we have decided to meet annually 

to discuss online licensing approaches in the 

region and try to engage more with the huge 

developing markets of China and India. 

The nature of online services, their cross border 

applications and the rights exercised means 

that societies must cooperate closely to provide 

efficient solutions for users as well as for writer 

and publisher members. 

US, Europe still working on 

solutions 

Even in countries where the copyright 

infrastructure is well-established, such as the 

US, Europe and Australia, there is still much 

debate about the best way to manage copyright 

in the digital world. 

In the US, there is considerable discussion about 

new digital services and the characterisation 

of the rights, the applicable tariffs and the 

mechanisms for collection and distribution. 

There have been numerous public inquiries 

and a recent surprising opinion of the Register 

of Copyrights that ringtones fall within the 

compulsory licence for phonorecords. 

Various sectors of the European Commission 

have weighed in to suggest reforms to society 

practices to allow more effective pan-European 

licensing of online services. The publisher EMI 

Music has announced a joint venture with the 

Research study – Support infrastructure 

into Indigenous Music 

In June, the Australia Council engaged APRA 

to audit the support infrastructure available to 

Indigenous music artists. The first study of its 

kind undertaken at a national level, the study is 

exploring the obstacles and opportunities that 

Indigenous music artists face in the areas of live 

performance, recording, broadcasting, public 

funding and education/training. 

Ebony Williams and I have conducted wide 

ranging interviews with members, managers, 

promoters and arts administrators all over the 

country and we thank you for your support. Your 

advice, opinion and experience will be invaluable 

in preparing our report. We sincerely hope that 

the data collection and findings will serve the 

Australia Council well in developing future policy 

and funding initiatives for this sector. 

The report is due in February 2006. If you 

would like to participate in the study, please 

contact Ebony Williams on 1800 642 634. 

APRA Distribution News 

iTunes 

Our 43B distribution, for the period January 

– June 2006, is the first APRA distribution to 

includ e performing right royalties for digital 

downloads. APRA is the first society in the world 

to fully process sales reports from iTunes in the 

new worldwide standard DDEX format developed 

by CISAC, IFPI, copyright societies and DSP’s. 

The increasing popularity of digital download 

services presents significant challenges to 

collecting societies in terms of developing 

systems and appropriate mechanisms 

UK and German societies for pan-European 

online licensing. There has recently been a 

settlement on part of the Copyright Tribunal 

Hearing on the on-line rates in the UK, but there 

are still proceedings on foot in Germany and 

Canada on download rates. It will be interesting 

to monitor how these and other European 

projects pan out (pun intended) and impact on 

music rights administration in other regions. 

Manila meetings map the way 

ahead 

The Manila meetings discussed international 

developments such as these and allowed an 

exchange of ideas on new digital services 

coming on line and licensing approaches. 

We discussed approaches to auditing online 

services, new mobile applications in Korea and 

Japan and the possibility of a jointly funded 

Asian WebCrawler to identify infringing and 

licensable sites and services. We are now 

looking at systems and procedures for dealing 

with distribution of the “long tail” of new 

repertoire that appears on online services. 

The recent commercialisation of the social 

networking sites myspace and YouTube were 

high on the agenda, as was the proposal of 

the Australian government to provide free 

exceptions in the law to allow private copying. 

In response to requests from pan-Asian services 

that are now being developed, we are discussing 

how we can effectively and efficiently grant 

territorial licences for the benefit of the services 

and copyright owners alike. 

for efficiently and accurately processing 

increasingly large volumes of data. For example, 

including digital downloads has seen an increase 

of approximately 25% of new works for payment 

in this distribution alone. APRA|AMCOS’ 

challenge and priority is to deliver effective 

distribution systems and services at acceptable 

costs to our members. 

Commercial TV 

43B included a full census analysis of Channel 

7 and 10 programs from the Sydney, Perth, 

Brisbane, Adelaide and Melbourne capital city 

stations. Discussions are still underway with 

Channel 9 and we are hoping to commence full 

census for Sydney, Melbourne and Brisbane 

programming from July 2006. The Southern 

Broadcasting Network will commence census 

analysis from 1 January 2007. 

MIDEM 2007 

APRA is again supporting the Australian stand 

at MIDEM 2007. MIDEM is the largest businessto-business 

tradeshow in the music industry. 

Each January, nearly 10,000 music professionals 

from almost 100 countries and from all sectors 

- including recording, publishing, live, sync, 

digital and mobile - meet at MIDEM to network, 

learn and discover new talent. 

With the assistance of Austrade, ‘Australia at 

MIDEM’ will mark a new stage in Australia’s 

presence at this fair. 

To register your interest, contact Matthew Proft 

at Austrade Sydney on 02 9390 2084 or email: 

matthew.proft.@austrade.gov.au 

Michelle O’Donnell 


Raymond Longford’s classic 

Australian silent film, The 

Sentimental Bloke commenced 

its tour to the USA, Canada 

and Japan on 1 September. 

Premiering in 1919, the 

film survived nearly eight 

decades before being fully 

reconstructed in 1997 by a 

team from the NFSA and 

George Eastman House in the 

US. The film will be screened 

with musical accompaniment 

by JEN ANDERSON AND 

THE LARRIKINS at festivals 

in Telluride, Washington DC, 

Rochester, Montreal, Berkeley 

and Tokyo. More info: Laura 

Heron 02 9321 6461 or laura. 

heron@afc.gov.au 

It has been a month of accolades 

and achievements for ROLF DE 

HEER and Ten Canoes. As well 

as the film becoming Australia’s 

official entry for nomination 

consideration for Best Foreign 

Language Film at the 79th 

Annual Academy Awards, de 

Heer was awarded the Silver 

Medallion at the Telluride 

Film Festival. Ten Canoes 

then screened at the Toronto 

International Film Festival, and 

de Heer then flew direct to 

Brisbane to pick up the 2006 

Queensland Premier’s Literary 

Award for the film’s script. 

SCREENWRAP 

Michelle O’Donnell, Manager, Film and TV Writers, APRA 

BRETT ROSENBERG has released his orchestral 

score to Half Light through Moviescore Media 

(go to www.moviescoremedia.com/index.html.) 

The score has also received some very positive 

reviews: “The score, however, is absolutely 

stunning...a multitude of beautiful themes, each 

performed superbly, and some shockingly 

violent dissonance, its importance within the 

film itself is immeasurable,” (full review - www. 

moviemusicuk.us/halflightcd.htm.) Brett was 

also nominated for best original score at our 

recent screen awards. 

Blue Mountains based composer JUSTIN HUNTER 

scored an IF Awards nomination for his music 

in the Rob Marsala film 48 Shades. The film is 

distributed through Buena Vista International and 

the soundtrack is out on Universal Records. Both 

his cds are available at www.justinhunter.com.au. 

BRYONY MARKS is working on her first feature 

film score for the film Noise, directed by Matthew 

Saville and due to be released next year. 

MICK HARVEY, celebrated arranger, multiinstrumentalist, 

producer, film soundtrack 

composer and co-founder of Nick Cave & 

The Bad Seeds and The Birthday Party has 

released a second compilation of film music 

entitled Motion Picture Music ‘94-’05. This new 

compilation offers music including Lighting Fires 

(1994), a documentary of Sydney based painter 

Tim Storrier, Frank Hurley - The Man Who Made 

History (2004), Sparrow (1996) a short film 

>> Justin Hunter 

by Australian director Polly Watkins; and the 

infamous Chopper (2000) directed by Andrew 

Dominic. From Europe: Rien Ne Vas Plus (2005) 

a German ‘Photo Film’’ by Katja Pratschke and 

Gusztav Hamos featured at the 2006 Venice Film 

Festival. 

AMANDA BROWN is currently composing for 

a feature film called Monkey Puzzle and is cowriting 

a song with David Hobson for another 

feature called December Boys. 

>> Brett Rosenberg >> Amanda Brown and Simon Marnie. 

A P R A P D E C E M B E R 2 0 0 6 > > 1 4

Supporting 

the Arts 

Music Grants Funding 2006-07 

Each year, the APRA Board sets aside 1.25% of distributable revenue to fund projects and 

organisations promoting the use and recognition of music by APRA members. The grants are part of 

APRA’s commitment to supporting and sustaining the creative life of the Australian music community. 

Funding recipients for the 2006-07 year are: 

DEVELOPMENT 

• Australian Music Radio Airplay Project 

(AMRAP) 

• Ars Musica Australis 

• Australian Guild of Screen Composers (AGSC) 

• Australian Songwriters’ Association 

• Country Music Association of Australia 

(CMAA) 

• Community Broadcasting Association 

of Australia (CBAA) 

• Folk Alliance Australia 

• Folk Federation of South Australia 

• Music NT 

• Music NSW 

• QMusic 

• Songsalive! 

• Sutherland Shire Symphony Orchestra Inc. 

• Talent Development Project 

• TasMusic Inc 

• True-L Music 

COMPETITIONS/AWARDS 

• 2MBS FM 

• ABC Newcastle Awards 

• Australian Music Prize Ltd 

• Australian Women’s Festival of Improvised 

Music 

• Music Oz 

• The Next Big Thing 

• The Push Inc 

• The South Australian Country Music Festival 

& Awards 

• Tamworth Songwriter’s Association Inc 

• Australian Children’s Music Foundation 

• Victorian and National Country Music Awards 

• The Fellowship of Australian Composers Inc. 

• Adelaide Eisteddfod Society Inc 

• Katherine Country Music Muster Inc. 

• Northern Country Music Association Inc 

• Q-Song Music Awards 

• Songwriters, Composers and Lyricists Assoc. 

Inc. (SCALA) 

• Sydney International Piano Competition 

FESTIVALS/SHOWCASES 

• AUSMusic SA + MusicSA 

• Carclew Youth Arts Centre 

• COMA 

• Falls Festival 

• Fuse Festival – Adelaide Fringe 

• Melbourne Composers’ League 

• Melbourne Jazz Fringe Festival 

• Mildura Country Music Festival Inc. 

• Murraylands Music Festival 

• Port Fairy Folk Festival 

• Port Fairy Spring Music Festival 

• Queenscliff Music Festival Inc. 

• WAM 

• Wangaratta Festival of Jazz Inc 

PROJECTS 

• Australian Christian Artists Network Inc 

• Australian Film, Television and Radio School 

(AFTRS) 

• Australian Music Centre (AMC) 

• AWESAM – SAMIA 

• The Gallery Players 

• Jazz Action Society 

• JazzGroove Association 

• Media Resource Centre 

• Musica Viva Society 

• The Orchestras of Australia Network Inc 

• Southern Cross University 

• Triple R Broadcasters Ltd 

INDIGENOUS 

• Deadlys 

• Music NT Inc. 

• Daguragu Community Government Council 

• Tura Events 

• Yothu Yindi Foundation 

• Black Arm Band 

• Goolari Media Enterprises 

“We appreciate your 

contribution to our work and 

hope that the smiling face of 

our logo is a reminder to you 

of the joy we are bringing to 

children.” 

Don Spencer, Founder & Director, Australian 

Children’s Music Foundation 

“Thank you for the approval 

of ...a Music Grant... for the 

Fellowship of Australian 

Composers Inc. With this 

generous amount... the FAC 

will be able to help, assist and 

award Australian composers 

throughout Australia.” 

Julie Simonds, Vice President/ Treasurer, 

Fellowship of Australian Composers 

“We really do appreciate the 

continued support we receive 

[from APRA]. It helps us in our 

endeavours to educate, support 

and promote our wonderful 

Australian songwriters.” 

Bev Daniel, President, Tamworth Songwriters’ 

Association Inc 

A 

menacing vibe for a 

violent thriller, a touch 

of musical magic for a 

children’s sci-fi, an air of 

madness for a black comedy, 

or an arrangement bridging 

the gap between classical 

and club. It’s all in the score 

for New Zealand Film/TV 

composer and arranger 

Victoria Kelly. 

Victoria’s first taste of 

composing music for film 

came unexpectedly, in the 

mid 1990’s, midway through 

a Masters Degree. Director 

Anna Reeves needed a student 

volunteer to score a short film 

called La Vie En Rose. Victoria 

decided to give it a go and the 

experience was a revelation, 

leaving no doubt in her 

mind as to where her future 

lay. After winning a TVNZ 

Young Achievers Award and 

a Professional Development 

Grant from Creative New 

Zealand, Victoria took off to 

the US. Here she undertook 

a postgraduate year in film 

composition at the University 

of Southern California, 

studying under Elmer 

Bernstein, Leonard Rosenman 

and Christopher Young. 

Returning home she began to 

work on features and during 

the late 90’s wrote eerie, 

menacing scores for a string 

of horror films, including 

serial killer flick The Ugly; 

Heaven, a violent, compelling, 

thriller which screened 

at the 1998 Montreal and 

Toronto Film Festivals; and 

in collaboration with Joost 

Langeveld, The Truth About 

Demons, which premiered 

in the Midnight Madness 

programme at the 2000 

Toronto Film Festival. Sales 

to TV networks ensured all 

three films moved ultimately 

from silver screen to small 

screen, going on to terrorise 

television audiences and 

earn broadcast royalties 

in Germany, Spain, Italy, 

Switzerland, Russia, France, 

Portugal and Japan. 

During 2000 Victoria teamed 

up with Joost Langeveld 

again as they worked on the 

score for Being Eve, a quirky 

26 part series centred on the 

life of a philosophical 15-year 

old school girl. International 

success followed, with the 

series being snapped up by 

a marketplace hungry for 

‘tweens’ TV. Being Eve began 

screening in America during 

August 2001, was picked up 

by TV2 in Denmark soon 

after and continued to be 

broadcast across a range 

of countries including South 

Africa, Finland, Norway, 

Malaysia and Ireland. It’s 

still going strong, it was 

recently shown on RTL5 in 

the Netherlands. 

Photo by >> Greg Bowker 

Maddigan’s Quest is another 

children’s series carrying a 

Victoria Kelly score, bound 

to travel far and wide. Set 

in a post-apocalyptic future, 

it’s an epic tale of magic, 

adventure and time travel 

with an equally expansive 

sound track, which required 

Victoria to write an average 

of 18 minutes of music per 

episode – that’s almost 4 

hours of music across the full 

13 part series! Maddigan’s 

Quest made its international 

debut in January this year, 

screening on BBC1 and has 

also been sold to networks 

in the USA and Israel. 

Victoria is also in demand 

as an arranger, often 

working on scores for 

others or adapting work 

for specific circumstances 

- like her recent orchestral 

arrangement for NZ band, 

Shapeshifter. More used to 

cranking out heavy beats 

in dimly lit clubs, the band 

asked Victoria to arrange 

their work for an innovative 

concert with the Auckland 

Philharmonic Orchestra in 

the grand St James Theatre. 

Bridging the gap between 

classical and club audiences 

is no mean feat, but by all 

reports it was achieved with 

dramatic effect. One hardened 

Shapeshifter fan admitting 

after the concert he’d been 

moved to tears by the sheer 

emotional force of the music. 

Victoria has also brought 

innovative interpretations, 

surprise collaborations 

and occasionally her own 

arrangements to the stage 

of the APRA Silver Scroll 

awards, where she’s been 

Musical Director since 2002. 

Film projects this year have 

included the score for Robert 

Sarkies’ Out of the Blue 

and Jonathan King’s comedy 

horror Black Sheep which 

uses 70 minutes of Victoria’s 

music. Both films had world 

premiere screenings at the 

Toronto Film Festival in 

September, attracting the 

interest of buyers in North 

America and Europe. 

If history is anything to go 

by, two more of Victoria 

Kelly’s soundtracks may be 

about to go global! • 

VICTORIA KELLY 

By Kathy Grant, Manager Performance 

Verification, APRA 

A P R A P D E C E M B E R 2 0 0 6 > > 1 6

Compiled by Mark Eades and Anthea Sarris 

Contributions are welcome and should be emailed to asarris@apra.com.au. 

Deadline for the March 2007 issue of Aprap is Friday, 26 January. 

IN MEMORY OF 

DOROTHYDODD 

10 DECEMBER 1926 – 25 JUNE 2006 

By John Sturman 

DEALS & SIGNINGS 

Fintage Music is proud to 

announce that it has signed 

award winning composer 

Burkhard Dallwitz to a 

worldwide publishing deal (excl. 

Aust/NZ). Fintage has also 

signed an exclusive worldwide 

sub-publishing agreement with 

Crosstown Songs covering 

their current and future music 

publishing catalogues. 

After attending SXSW in Austin 

Texas with the specific target of 

finding a Sync partner for North 

America, Fogsongs managing 

director Marshall Cullen has 

signed an agreement with 

Charles Levan from Blue Buddha 

Entertainment, in Los Angeles. 

EMI Music Publishing Australia is 

proud to announce the signing of 

Natalie Bassingthwaighte of the 

Rogue Traders to a worldwide 

publishing agreement. 

Celebrating the signing are: L-R: 

Mark Byrne (Peppermintblue, Manager), 

Maree Hamblion (A&R Manager, EMI Music 

Publishing), John Anderson (MD, EMI Music 

Publishing) & Natalie Bassingthwaighte. 

ABC Music Publishing will 

administer the music publishing 

rights for Pacific International 

Music – a new music company 

about to establish its base in 

Nashville, Tennessee. Country 

music singer/songwriter Adam 

Harvey’s five year association 

with ABC Music Publishing has 

come to an end however ABC 

Music Publishing will continue to 

represent his current repertoire 

in the medium term. Sydney 

producer, performer and 

songwriter Rephrase has signed 

to ABC Music Publishing and 

is back with his second Album, 

Little Victories. 

Mushroom Music is proud to 

announce the signing of musical 

comedy trio Tripod for their most 

recent record Middleborough 

Road. 

Native Tongue has entered into 

an agreement with The Datsuns 

to publish their new album 

Smoke & Mirrors. Native Tongue 

has also inked a worldwide 

publishing agreement with 

Jonathan Bree, songwriter from 

The Brunettes; plus a deal with 

Megan Hickey. Two of Native 

Tongue’s most recent signings 

hail from Christchurch: Flip 

Grater has just completed her 

first tour of NZ promoting her 

debut solo album; and Matt 

Barus, lead singer and writer 

with The Dukes. Native Tongue is 

also pleased to announce it now 

represents the catalogue of Van 

Heusen Music Corp. 

Universal Music Publishing 

Australia is delighted to 

announce the re-signing of one 

of Australia’s most revered and 

successful songwriters, Alex 

Lloyd to an exclusive, long-term 

publishing agreement. Universal 

has also extended its worldwide 

administration agreement with 

Southern Star Music Publishing, 

the music publishing arm of 

Southern Star Productions. 

Writer Gregg Arthur has signed 

a worldwide recording deal 

with Emporium Music and the 

first release is his new album 

Here with Me, published by 

Hebbes Music Group (HMG). 

HMG has also announced the 

signing of new sub-publishing 

agreements with Warnes Music 

for the songs of Jennifer Warnes; 

Upton Park Publishing for the 

very successful French group 

Matmatah; and Harlan Howard 

Songs for the writers Lori 

McKenna and Mary Gauthier. 

Other new deals include Nanada 

Music out of Holland and the 

extensive Celestial Harmonies 

catalogue. 

Shock Music Publishing is 

proud to announce the signing 

of Celebrity Drug Disasters, the 

2006 winners of the New Artist 2 

Radio competition. • 

Tripod - Scott Edgar, Simon Hall and Steven Gates - pictured with Mushroom Music MD Ian James. 

NEWS 

ABC Music 

Publishing 

The Australian Country Music 

Achiever Awards saw ABC 

Music Publishing awarded 

2006 Publishing Company 

of the Year for an incredible 

5 years in a row! Presented 

by the Country Music 

Association of Australia 

(CMAA), the awards are 

an annual event that brings 

together the music industry 

in a night that celebrates 

and acknowledges the 

achievements of the many 

individuals and companies 

involved in making and 

promoting Australian country 

music. 

Singer-songwriter, Bob 

Piggott, has won the APRA 

& ABC Music Publishing 

Songwriter Recognition 

Award – presented at the 

annual 1233 Newcastle 

Music Awards. 

Gospel Music 

Association 

In August, the inaugural 

board meeting of the 

Gospel Music Association 

of Australia and New 

Zealand (GMA ANZ) was 

held in Sydney, to pursue 

the mission of “Growing 

Christian Music”. GMA 

ANZ was formed to act 

as the peak body for the 

Christian music sector in 

Australia and New Zealand 

and its membership is 

drawn from the artists, 

record labels, wholesalers 

and distributors, media, 

publishers, promoters, 

managers and educators in 

the Christian music sector. 

The Hoff jumps Dorothy Dodd: her passing 

in Ted’s car is mourned by friends and 

colleagues alike for we have lost 

David Hasselhoff’s version of Ted 

someone who worked tirelessly 

Mulry’s Australian classic, Jump 

in my car, has reached No. 3 on in the social and economic 

the UK singles’ charts, giving J. interest of her fellow writers 

Albert & Son yet another hit in 

often at great personal cost. 

the UK. Expect other European 

countries to follow suit. 

But perhaps the people who miss her most, apart 

from family are those of us who were privileged 

Local and global to work with her, in the early, formative years of 

the Australian music industry when the market was 

success for 

dominated by overseas music and opportunities for 

Native Tongue 

local writers and performers were very much limited 

by the existence of only one major record company 

It has been an exciting quarter 

owned and controlled by British interests as well as 

for Native Tongue with some 

a radio industry obsessed with playing only top 40 

great success both locally and 

hits dictated by overseas trade magazines such as a 

overseas. Don McGlashan won his 

Billboard and Cash Box. 

second APRA Silver Scroll for the 

song Bathe In The River; he also This situation was gradually changed, thanks to the 

won best original achievement in efforts of a small band of dedicated people such as 

music for his film score for No. 2 Dorothy Dodd who were determined to raise the 

at the recent NZ Screen Awards. profile of Australian writers and performers. 

Former Muttonbird guitarist 

and Native Tongue writer, David In 1965 I joined APRA as CEO. Dorothy was a full 

Long, won the equivalent award writer member of the Association at the time and 

for television music for his score was later elected as a Writer Director. Full writer 

to the SBS series The Insiders membership was very limited at this stage, Dorothy 

Guide To Love. 

enjoyed such a status because of her phenomenal 

success as the author of the English lyrics to 

NZ born, UK bred buzz band 

Granada. The great majority of APRA writers were 

The Veils, have a new album 

Associate members only, which meant they had 

Nux Vomica on the shelves and 

no vote at General Meetings and therefore, no real 

are set to tour next year. Kiwi 

voice in the affairs of the Company. Dorothy argued 

instrumental rock gods Jakob 

strongly that this situation was unjust and ultimately 

have a new release Solace out 

persuaded the Board to provide for all members to 

through inertia in Australia. 

have full status and therefore an entitlement to vote 

Native Tongue have also had at General Meetings. 

a number of placements for 

Australian and New Zealand acts Dorothy was equally influential in supporting the 

in US television series including proposal that the number of Writer Directors on 

CSI, Windfall and The Unit. In the APRA Board should be equal to the number of 

addition, their new partnership Publisher Directors to be consistent with overseas 

with Domino Publishing Co. in practice. 

the UK is taking off with a number 

of Domino acts set to tour our 

shores next year including the 

Archie Bronson Outfit. • 

Dorothy Dodd’s efforts on behalf of writers were 

not, of course, confined to APRA. As a President of 

the Fellowship of Australian Composers she worked 

assiduously towards the betterment of writers in all 

their various fields of activity and played a prominent 

role in liaising with both politicians and public 

servants in Canberra in an effort to secure economic 

aid and political largesse where it counted. 

One of her most outstanding achievements was 

to persuade the Government to give significant 

financial and practical support to an Australian stand 

at the annual Caen Music Festivals which did much 

to bring international attention to the potential of 

Australian music on the world market. The Federal 

Government were quick to acknowledge Dorothy 

Dodd’s contribution to this remarkable marketing 

exercise by an appropriate preferment which she 

richly deserved. 

Dorothy’s ultimate accolade, however, came 

when she was elected non-executive Chairman of 

the APRA Board, a position she filled with great 

distinction. It was in this capacity that Dorothy joined 

management in attending the bi-annual Congress 

of the International Confederation of Authors and 

Composer’s Societies where organisations similar 

to APRA came together from all over the world to 

discuss issues affecting the interests of authors and 

composers in general and to formulate strategies 

accordingly. Dorothy played an active role in the 

lively discussions which ensued at these conferences 

and it became quickly apparent that her fight for 

the rights of Australian writers had evolved to 

encompass the rights and interests of authors and 

composers the world over. 

Dorothy Dodd was a rare, if not unique personality 

whose enduring contribution to the cause of creative 

expression cannot be over stated. From someone I 

knew as a respected colleague in the narrow confines 

of the music industry, I came ultimately to regard 

her as a friend whose overriding concern to achieve 

economic justice for the creative talent of her peers 

took precedence over all else in her life. Dorothy’s 

passing coincides very much with the passing of an 

era in which her efforts and those of others similarly 

dedicated, have undoubtedly led to the high regard 

and prestige enjoyed today world wide, by writers 

and performers from ‘Downunder’. 

A P R A P D E C E M B E R 2 0 0 6 > > 1 8

Andy “Sugarcane” Collins 

BEBOP BROS featuring GARY 

NORMAN (guitar) and GARY 

COSTELLO (acoustic bass) play 

instrumental jazz from the 40’s in 

a more contemporary style. Their 

self titled CD contains twelve of the 

most influential compositions from 

the era - see www.newmarketmusic. 

com.au and www.myspace.com/ 

garynormanonline 

Join the Dots is the debut 

album by Melbourne’s TOBIAS 

CUMMINGS and THE LONG 

WAY HOME. The album is both 

a continuation as well as a leap 

forward from Tobias’ first release, 

the EP You Incomplete Me. Join 

The Dots is out now via In-Fidelity 

Recordings/Inertia Distribution. 

www.tobiascummings.com www. 

myspace.com/tobiascummings 

and www.infidelity.com.au 

2004 Queensland Songwriter of 

the Year ANDY “SUGARCANE” 

COLLINS has recently returned 

from the three month tour of 

the USA, promoting the release 

of his blues/roots album Way 

Down The River. Andy has 

followed up with a southern 

tour featuring performances at 

the Thredbo Legends of Blues 

Festival and the Australian Blues 

Music Festival in Goulburn - see 

www.sugarcanecollins.com 

>> Gisèle Scales 

2006 has been a great year 

for Perth independent label 

BLAZING STRUMPET RECORDS. 

They have released THE 

PAINKILLERS’ first album Drunk 

On A Train, featuring JAMES 

BAKER (DUBROVNIKS/HOODOO 

GURUS/SCIENTISTS/VICTIMS) 

as well as EPs by bogan glam 

rockers PYTHON and Perth’s 

premier sleaze merchants THE 

HOMICIDES. The label has 

big plans for 2007 with a tour 

by Queensland punks THE 

PINTS booked for January; CD 

releases by PROJECT MAYHEM, 

STANDARD DEVIANTS, and 

ZXSPECKY; and of course their 

usual monthly grassroots shows 

at both all ages and pub levels 

– see www.blazingstrumpet.com 

GISÈLE SCALES’s solo debut 

is the dance/pop CD 2 Think 

featuring electric violin breaks and 

multilingual vocals over driving 

beats. Eight tracks from the album 

have been placed on local and 

international compilations. For 

further information and to listen 

to music samples, please visit 

www.giselescales.com and www. 

myspace.com/wwwmyspacecomg 

iselescales 

ZIA’s debut single release 

Underground features remixes by 

DJ CRAIG OBEY and a film clip. 

Underground 12” Remix peaked at 

#29 on the ARIA Club Charts, is 

spinning in clubs and is receiving 

national airplay on specialist dance 

shows. Underground - Original 

Version and 32mm film clip (directed 

by STUART MANNION) is the next 

release - see www.zia.com.au 

>> Mach Pelican >> James Stewart Keene Band 

IAN SANDERCOE has released 

Earthday independently through 

MGM. The album is a powerful 

collection of songs, predominantly 

written by Ian, with help from 

ROBERT PARDE, PAUL ELLIOTT 

and JUSTIN BOLTH. Ian is 

touring nationally – see www. 

iansandercoe.com 

Wollongong’s JAMES STEWART 

KEENE BAND released their 

debut EP You Want What I Got 

on December 4 through James’ 

own label. The band is the 

vehicle for James’ country blues 

flavoured rock original material. 

The band launched the EP at the 

Lansdowne Hotel in Sydney in 

early December. 

Radio Action is MACH PELICAN’S 

third full length album and was 

recorded at Sing Sing Studios in 

Melbourne with producer Matt 

Maddock (SOMETHING FOR KATE, 

BODYJAR, SEKIDEN, etc). It also 

contains a highly catchy cover 

of the 60’s NZ classic by RAY 

COLUMBUS & THE INVADERS, 

“She’s A Mod”. Special guests on 

the album include Roman Tucker 

(from ROCKET SCIENCE) on the 

track “Not The Same”, and THE 

SPAZZY’S on “Love Is Strange”. 

AZTEC MUSIC is excited to be 

reissuing the 1974 classic album, 

Ball Power by LOBBY LOYDE & 

THE COLOURED BALLS. It has been 

digitally remastered with 7 bonus 

tracks - see www.aztecmusic.net 

>> Gigantic 

Following on from a successful 

promotional tour to the US and 

Canada and a worldwide deal 

with Los Angeles based Jetspeed 

Records, Sydney hard rock band 

NOBODY’S FOOL have released 

their debut international album. It 

was recorded at The Sonic Factory 

and mastered in LA by Dave ‘Javu’ 

Morse. NOBODY’S FOOL head to 

LA in the new year for a series of 

live shows, radio interviews and 

in-store appearances – see www. 

nobodysfool.cjb.net and www. 

myspace.com/nobodysfoolrock 

Perth power popsters GIGANTIC 

have released their long awaited 

debut album Gigantaphonic 

Sounds. The album has been coproduced 

by Joel Quatermain of 

ESKIMO JOE, Rodney Aravena 

of END OF FASHION and Andy 

Lawson of THE AVENUES and is 

out on Popboomerang Records 

through MGM. See www.gigantic. 

com.au for tour dates. 

LISA MAXWELL has released her 

debut long player, Select Vacancy. 

Produced by Jamie Durrant 

(DEGENERATES, KILLING HEIDI, 

LILLIAN THOMS), Select Vacancy 

is out now in stores Australia-wide 

and available internationally on 

Apple iTunes through Essential 

Music Australia/Green Media 

(MGM) - see www.lisamaxwell.net 

>> Joel Smoker >> Brigitte Handley 

BRIGITTE HANDLEY AND THE 

DARK SHADOWS have a new EP, 

Identity, released through MGM 

locally, Revel Yell Music, Japan 

and distributed through Raucous 

(UK, Europe) and Collector’s 

Choice (USA). The EP contains 

5 rockin’ tracks and bonus film 

clip! The title track has also been 

included on the soundtrack for the 

new Australian film 48 Shades - 

see www.brigittehandley.com and 

www.myspace.com/brigittehandley 

WA musician and artist JOEL 

SMOKER recently released a CD 

of original songs titled Smile. 

Produced by LUCKY OCEANS, and 

recorded at Satellite Recording 

Studio in Burswood, WA, the CD 

is now available through local 

distributors, direct from Red Dirt 

Arts or from Joel’s web site at 

www.joelsmoker.com 

Gold Coast singer-songwriter 

CASEY BARNES has come off an 

amazing year in which he opened 

for visiting Canadian rocker 

BRYAN ADAMS and showcased his 

radio-friendly rock style alongside 

well-known Aussie acts such as 

ESKIMO JOE, THE WHITLAMS and 

DIESEL. Now Barnes has released 

his second album, What The Hell 

Are You Waiting For?, available 

from www.caseybarnes.com.au 

>> Anne McCue 

>> Rachel Koster 

Singer PEGGY VAN ZALM has toured 

locally and in Europe to celebrate 

the release of her latest CD (her 

fourth solo release post MARTHA’S 

VINEYARD) Light Diamond. Coproduced 

with Geoff Nant in their 

Elands Studio in regional NSW over 

a period of two years, it features 

a wealth of musical talent from the 

rainforested Bulga Plateau - see 

www.peggyvanzalm.com 

US-based, APRA member ANNE 

McCUE has released her new 

album Koala Motel, featuring 

special guests LUCINDA WILLIAMS, 

NANCY WILSON, JIM LAUDERDALE 

and JOHN DOE. In support of the 

album, Anne has played shows 

in the U.S.A., U.K., Germany and 

Australia over the last few months 

- see www.annemccue.com and 

www.myspace.com/annemccue 

Queensland singer-songwriter 

RACHEL KOSTER has just released 

her self-penned and funded debut 

album, Deciduous, recorded at 

Melbourne’s Woodstock Studios. 

Produced in part by ARIA award 

winning engineer, Robin Mai (John 

Butler Trio) and mixed by Mai and 

the legendary Chris Dickie - see 

www.rachelkoster.com 

Brisbane’s TWENTYSEVENS following 

on from the release of 

their debut album Songs From 

the Middle Ages, are currently 

supporting STAUS QUO on their 

30 date, UK tour, playing at major 

venues such as Wembley Arena, 

Manchester MEN and others – see 

www.twentysevens.com 

BILL MCDONALD’s long and 

unusual career as band member, 

sideman extraordinaire and avantgarde 

experimentalist is skilfully 

woven into his Four Hours Sleep 

project. The album Love Specifics 

reconnects a cast of some of 

Australia’s most well regarded 

musicians, ten years on from 

the debut long-player More of 

Her. Based around the holy rock 

trinity of guitar (DAN LUSCOMBE), 

bass (BILL MCDONALD) and 

drums (PETE LUSCOMBE); the 

tracks combine freely with a 

dazzling array of instruments, 

mutated field recordings and 

stellar vocal contributions (from 

the likes of PAUL KELLY, ANGIE 

HART, STEPHEN CUMMINGS, 

CHARLES JENKINS and OLLIE 

OLSEN) - see www.myspace.com/ 

fourhourssleepau 

Independent Melbourne 5-piece 

DURBEYFIELD have released their 

new EP Across The Hollow to 

glowing reviews. Characterised by 

layered instrumentation, soaring 

melodies and lyrics that recount 

stories of human experience, the 

EP is out now through MGM - see 

www.durbeyfield.com 

Sydney activists ANDORRA have 

had a busy year, performing and 

promoting the Baxter EP – live and 

on radio and TV; recording some 

new material; and performing at 

the Marrickville and Peace Festivals 

in Sydney and the Yaamma Festival 

in Bourke. ANDORRA pride 

themselves on making music and 

organising shows for the things 

they care about, “in a positive way 

and with pro-active resilience” - 

see www.andorramusic.com.au 

MEGAN BOWMAN’s debut album 

Wonderlust has finally seen the 

light of day, through MGM and 

Raw Love Records. Her live gigs 

have included Bluesfest, The Metro 

(Sydney), an Elliot Smith tribute 

at The Corner Hotel (Melbourne) 

and the Folk Alliance Australia 

Convention in Canberra. Megan 

also received a John Butler ‘JB 

Seed’ management grant in 

October and recently visited S-E 

Asia to negotiate tour dates and 

distribution of Wonderlust – see 

www.meganbowman.com or www. 

myspace.com/meganbowmanmusic 

>> Psycho Zydeco 

2006 marks a new chapter in the 

history of Australia’s premier 

zydeco band. PSYCHO ZYDECO 

have released their fourth album, 

Get On Board - a 16 track PSYCHO 

ZYDECO time capsule spanning 

the evolution of their music from 

its rockin’ bluesy beginnings 

right through to the funkier style 

of “Zydeco Nouveaux” - see 

www.zydeco.com.au 

Contributions should be emailed 

to bcampbell@apra.com.au 

Deadline for the March 2007 issue 

is 26 January. 

2 0 

Compiled by Bowden Campbell and Milly Petriella 

>> Megan Bowman

All photos by: Topic 

APRA 

NZ 

>> Prime Minister Helen Clark presents Don McGlashan 

with the APRA Silver Scroll Award 

>> Spacifix performing ‘The Pool’ 

2006 APRA SILVER SCROLL AWARDS 

By Catherine Langabeer, Communications and Events Coordinator, APRA New Zealand 

>> The Jubilation 

Choir with Russell 

Harrison and 

Anthony Gold 

perform ‘Bathe 

In The River’ 

>> The Patea Maori Club perform ‘Poi E’ 

The APRA Silver Scroll Awards led 

the charge of music industry awards 

events in New Zealand this year. 

Held at the Auckland Town Hall 

on September 20, and hosted by 

Radio Live broadcaster Marcus 

Lush; 440 guests including 

Prime Minister Rt. Hon. Helen 

Clark, Mayor of Auckland Dick 

Hubbard, APRA|AMCOS CEO Brett 

Cottle, APRA Board Chairman 

Mike Perjanik and the APRA Board 

and Management attended the event 

to toast great NZ music and the APRA 

members behind it. Namely, those 

creating the best work in the genres 

of popular, Maori and contemporary 

classical music. 

Guests knew they were in for a special 

night from the first moment of the 

opening performance. Silver Scroll 

finalist Don McGlashan’s Bathe In The 

River was performed by the glorious 

Jubilation Choir who originally 

recorded the song, with special guests 

Russell Harrison and Anthony Gold. 

Don McGlashan (Native Tongue Music 

Publishing) went on to win the Silver 

Scroll Award, presented this year by 

Prime Minister Helen Clark, but not 

before a stellar line-up of performers 

treated the audience to versions of the 

other finalist songs. 

The finalists in the Silver Scroll 

Award this year were all songwriters 

at the top of their game: from indie 

sweetheart James Milne (Lawrence 

Arabia and The Reduction Agents) 

with The Pool, to Anika Moa for Stolen 

Hill from her sophomore album of 

the same name, and Silver Scroll 

heavyweights Don McGlashan - who 

won in 1994 for Anchor Me and was 

finalist this year for both Bathe In 

The River and Miracle Sun - and 2005 

winners Dann, Jon and Peter Hume 

(Evermore). The Hume brothers won 

last year with It’s Too Late and were 

back again with Running. Based in 

Sydney, Evermore joined their Kiwi 

peers for the night, and were off to 

Perth the very next morning to begin 

their ‘Real Life’ tour of Australia. 

The winners of the APRA Maioha 

Award and SOUNZ Contemporary 

Award were also recognised on the 

night. Newcomer Richard Bennett 

(Mai Publishing) won the APRA Maioha 

Award with his first ever composition 

in Maori titled E Hine, while Ross 

Harris won the SOUNZ Contemporary 

Award for the third time with his 

Symphony No.2 for mezzo soprano 

and orchestra. 

Performances on the night were 

directed by composers Victoria Kelly 

and Joost Langeveld and once more 

confirmed the Silver Scroll’s reputation 

for showcasing standout acts; from 

jazz to dub, funk to punk. 

The unmitigated highlight, however, 

was the closing number. Just as the 

crowd had settled back to their seats 

after a standing ovation for Don 

McGlashan they were once again back 

on their feet. Turntablist P-Money 

issued the familiar strains of the 

1984 hit song Poi E from his decks 

together with – to the disbelief and 

delight of the entire hall – the original 

performers of the song, The Patea 

Maori Club. 

For a full list of winners, finalists 

and photos from the night, check out 

‘Silver Scroll’ at www.apra.co.nz 

Whether you are 

a newcomer to the 

music business, 

or a seasoned 

professional, 

Music Business 

by top industry 

lawyer and 

dealmaker, Shane 

Simpson, is a 

must-read. With 

over 10,000 copies 

sold in the past 

decade, Music 

Business is a guide 

to every aspect of 

building a music 

career in Australia. 

It identifies all 

the most common 

potential problems 

and offers practical 

solutions based 

on long legal 

experience. 

Featuring critical information 

on music business legalities 

and realities, the new, 

completely revised and 

updated 2006 edition 

features an extra 48 pages 

over the previous version. 

It covers crucial new areas 

of the music industry & the 

law including: 

• The massive changes in 

Australian and overseas 

copyright law 

• The new mechanical 

royalty regime & its 

implication for artists 

& labels 

• Vital internet and 

download issues, revenue 

streams and deal points 

• The rise of ring tones 

and new mobile music 

opportunities 

• Terms of new record 

contract developments and 

new management deals 

• Record company 

cannibalisation and its 

effect on the market 

and dealmaking 

• Up to the minute tax 

changes and other 

Federal programs 

• Philanthropic support 

for music 

• How to set up your 

own label 

Plus all updated aspects 

of recording, management, 

publishing, agency, licensing, 

distribution, promo and 

publicity deals as well as all 

areas of music business. 

The Woman I Am 

Grammy award-winning singer, feminist 

icon and APRA member, Helen Reddy has 

recently released her autobiography: The 

Woman I Am. In this highly anticipated 

memoir, she reveals the story of her rise 

to international fame and her triumph over 

difficult times. For more information about 

Helen and to purchase her book, go to: 

www.helenreddy.com.au 

food 

for 

thought 

Understanding 

the Music Business 

Chapter 38 

THE ART 

OF THE DEAL 

(Excerpt reproduced with kind 

permission of Shane Simpson 

and Music Sales) 

The music industry is 

deal driven. Every dollar 

earned is a product of the 

negotiation of a contract. 

Good negotiators achieve 

better deals for their clients. 

Accordingly, negotiation 

skills are essential to success 

in the business. this chapter 

provides the personal 

insights of a dealmaker. 

To end this book it seems 

appropriate to give some 

insights into deal making. 

These observations are 

personal and subjective. 

They reveal just one 

approach to the deal-making 

process. They may not suit 

everyone. It is just one 

approach – but one that 

has been proven to work. 

A deal is a 

relationship 

Most truly lucrative deals 

in the music industry 

are long term. They are 

not just contracts. They 

are relationships. This is 

important to acknowledge 

when negotiating the deal. 

Anyone can read a contract 

and comment on it but a 

good dealmaker recognises 

that a deal is not just about 

royalty rates and advances. 

It is also the basis of the 

ongoing relationship of 

the parties and therefore, 

the negotiation will often 

require complex exploration 

and documentation of 

the personal, creative and 

commercial needs and 

expectations of the parties. 

In this context, the contract 

is the process for defining a 

relationship. It’s the guidance 

system for the artistic and 

commercial deliverables. 

Looked at this way, it is 

the basis of an enduring 

association of mutual benefit. 

There are whole books on 

deal making. This chapter is 

going to focus on just three 

aspects of the process: 

• the background 

intelligence; 

• techniques of the 

negotiation; and 

• the content of the deal. 

IMMEDIA! 

is offering Music 

Business, freight free, for 

$60 to anywhere in Australia. 

Alternatively you can purchase 

Music Business and a current edition 

of the AustralAsian Music Industry 

Directory for $90 (rrp $118.80). 

For more information, go to 

www.immedia.com.au/books 

or contact Kath Owen: 

kath@immedia.com.au or 

(02) 9557 7766. 

Special offer for APRA members 

A P R A P D E C E M B E R 2 0 0 6 > > 2 2

If a picture could speak a thousand 

words, this photograph of bass, Conal 

Coad, would represent not only a 

quintessential backstage moment but 

tell also of the months of preparation 

and collaboration that precede an 

opera’s opening night. It evokes for 

me one of many glimpses I’ve been 

privileged to have of this extraordinary 

world of make-believe and the very 

real hard work and talent that creates 

it nightly in the Opera Theatre or 

Melbourne’s State Theatre. 

Coad was captured leaving his 

dressing room moments before 

going on stage in Manon. He paused 

to check his attire, the creation 

of designer Roger Kirk and the 

costumiers and seamstresses who 

work in Opera Australia’s Wardrobe 

Department. The telephone at the 

ready hints at the activities of a 

whole world backstage while the 

singer’s attention to every last 

detail reflects the culmination of his 

musical preparation and the creative 

endeavours of many others to ensure 

the show goes on. 

Writer Annarosa Berman and I spent 

two years documenting such moments 

to produce The Company We Keep: 

an intimate celebration of Opera 

Australia. Published in July to coincide 

with the company’s 50th birthday, 

the book showcases the behind-thescenes 

life of what Richard Hickox 

calls “one of the world’s last great 

ensemble companies”. 

The Company We Keep: an intimate 

celebration of Opera Australia is 

available from selected bookstores in 

most cities (rrp $49.95). For further 

information contact Annarosa Berman 

on (02) 9818 5370 or Emma Williams 

at Opera Australia on 0413 985 291. 

MOMENTS 

IN MUSIC 

Conal Coad at the Melbourne 

Opera Theatre 

By Bridget Elliot, bridgetelliot@optusnet.com.au 

Have you 

got a photograph 

that captures a 

moment in music? 

Send your 

submission 

with 250 

words on why 

it’s special to 

asarris@apra.com.au 

and it could 

appear on the 

back of the 

next Aprap. 

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: Robert Aird Universal Music Publishing Pty Ltd, John Anderson EMI Songs 

Australia Pty Ltd, Ian James Mushroom Music Pty Ltd, Peter Karpin BMG Music Publishing, Fifa Riccobono J Albert & Son, Damian Trotter Sony/ATV Music Publishing CHIEF EXECUTIVE: Brett Cottle LLB DIRECTOR OF NZ OPERATIONS: 

Anthony Healey 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 3 Winn Street Fortitude Valley QLD 4006 Telephone: (07) 3257 1007 Facsimile (07) 3257 1113 SOUTH AUSTRALIA unit 54, 55 Melbourne 

Street North Adelaide SA 5006 Telephone: (08) 8239 2222 Facsimile: (08) 8239 0744 WESTERN AUSTRALIA suite 1, 12-20 Railway Road Subiaco WA 6008 Telephone (08) 9382 8299 Facsimile (08) 9382 8224 NEW ZEALAND HEAD 

OFFICE Unit 113, Zone 23, 21-23 Edwin Street Mt Eden, New Zealand Telephone: 64 9 623 2173 Facsimile 64 9 623 2174 PO Box 6315, Auckland, New Zealand. The opinions expressed in articles in Aprap are not necessarily those of the 

Australasian Performing Right Association. EDITOR: Anthea Sarris asarris@apra.com.au DESIGN: Elastik PRINTING: No Time To Lose ©2006 Australasian Performing Right Association Ltd, Sydney, Australia. Print Post No: 55003/02262 ISSN: 1441-4910. 

Printed on environmentally friendly paper using soy-based inks.

CLARE BOWDITCH - APRA

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