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Landscape, Spirit, and Music EssayAnne Boyds Landscape, Spirit, and Music An Australian fiction is a substantive view on the integration of the landscape of a distinct culture represented by aboriginal beliefs and traditions to Australias inimitable non-Indigenous melody industry. Boyd said, it is possible to see something of the significance of music in constructing an inspirited relationship with landscape as part of a possible process of aboriginalization which is slowly affecting all(a) of Australias non-indigenous inhabitants. Boyd sought to prove her assumptions by presenting various evidences in the works of famous Australian composers such as Ross Edwards, Peter Sculthorpe, and David Lumsdaine, including the artistry of Tommy Barrtjap as a musician. The landscape that Boyd was referring to with regards to the influences of some non-Indigenous Australian composers encompasses the history of Australia, the culture of its indigenous people, as well as the physical landsca pe or environment that makes the country unmatchable in beauty and whereiwthal.The history of Australia serves as the backdrop or milieu from which the composers were able to structure their extraordinary, meaningful, and poignant music. Furthermore, the culture of Australias indigenous peoples becomes the inspiration for musicians or composers to create something exclusive and distinctive. Thus, the musicians and composers that Boyd mentioned in her discussions were able to create a kind of music that channels mysticism, spirituality, and the metaphysical, representative of Australias indigenous culture.Boyd said that All terce composers Ross, Edwards Schulthorpe have drawn upon birdsong, not literally, but in a mythical and ritual sense birds thus become spiritual messengers linking human music and landscape. The coarse influence of Australias history and the indigenous culture of its native inhabitants is expected, as argued by Schultz .Schultz said that the emergence of a unique and distinctive music is to the highest degree likely, particularly in Australia because the existence of diverse immigrant population, a sense of real or imagined isolation, insecurity about the presence of a national character unique natural features such as climate, geography and flora and fauna, a pre-existing and extant culture with a strong and individual civilization, high standards of education with subsequent levels of artistic self-awareness, and substantial government subsidization of artistic activity are dynamic and influential factors that would encourage such devotion and revolution in devising and producing music for the sake of art. Furthermore, Lim believes that the growing interest of non-Indigenous Australian musicians to the history of Australia and culture of its Indigenous peoples as landscapes to developing music has something to do with the stipulation of these composers to develop a unique kind of music and a personal identity as a musician or com poser. Lim said Aboriginal cultures continue to be employ by artists as a marker of authenticity in the construction of an Australian identity of sense of nationality. By and large, Boyds discussions as supported by the narratives and arguments presented by Schultz and Lim explicate the great weight or importance of Indigenous culture in Australia as well as its history in back up musicians and composers create music that represents nationalism and establish a unique and inimitable identity. Works Cited Boyd, Anne. 2007. Landscape, Spirit and Music, in The Soundscapes of Australia Music, Place and Spiritually. Richards, Fiona (Burlington, VT Ashgate), pp. 11-18. Lim, Liza. Crossing Cultural Boundaries and Ecstatic Transformation, Sounds Australian 26 (2006), 10-11. Schultz, Andrew. Other Places, Whose Music? Some Introductory Comments on Appropriation and Tradition, Sounds Australian 20 (1991) 8-9.