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Career Summary

Biography

A jazz guitarist, singer, percussionist and composer originally from Brisbane, via Brasil and New York in the 1980's. He completed a Bachelor of Music at QUT and moved to South Africa in 1994, where he played in big bands including the Eastern Cape Big Band and the Rhodes University Big band, performed at the Grahamstown Festival, the biggest arts festival in the southern hemisphere, and played in experimental groups the “Outer Limits” and with renowned saxophonist Rick Van Heerden and percussionist Geoffrey Tracey in “Blind Impulse”. He also played South African (Safro) Jazz and world music groups and taught music including Southern African ethnomusicology at the Rhodes University Department of Music. He wrote and recorded a six part radio documentary series in 1999 for ABC radio National entitled "When the West Met the South, the music of South African history" and contributed music scores to documentary films.

From 1998 he taught world music, music technology and cross cultural music at QUT and he completed his PhD in African Cross-Cultural composition in 2007. He released a CD of his compositions based on his African experiences entitled "Afro No-Clash" in 2008 which received airplay on Radio National.

He founded and directed the world music group “Kabombo Kombo” in Brisbane in 2003 who performed at the Valley Music Festival, The Brisbane Powerhouse and the Judith Wright Centre for Performing Arts in their 4 year life. This ensemble played traditional and contemporary African music as well as original compositions by Jim. He also sang in the Acapella group “The OK Chorale” for several years and was cofounder and co-director of “The Espanados” another Acapella group who performed at festivals and at the 2006 Multicultural Music Festival at Brisbane City Hall. He played percussion in the four-piece Irish fusion group “The Delodians” who performed regularly around Brisbane and regions including at the Woodford Folk Festival. He also played regularly in the jazz and contemporary duo “What Black Cat” until leaving Brisbane in 2009 and is currently a senior lecturer in music at the University of Newcastle.

Qualifications

  • Doctor of Philosophy, Queensland University of Technology, 15/08/2008
  • Bachelor of Music, Queensland University of Technology, 27/03/1998
  • Bachelor of Arts, University of Queensland, 26/04/1979
  • Diploma in Psychology, University of Queensland, 22/04/1981

Research

Research keywords

  • African music
  • Music Education
  • Music and Intercultural Syncretism
  • Musical rhythm theory
  • World Music

Research expertise

• Research, Production and Writing and Recording for a 6 part series for Radio Eye on Radio National ABC Australia entitled: When the West Met the South: the music of South African history (1995-2000)

• Research project on the outcomes of blended and on-line learning in music orchestration- publication (2000-2003)

• Research in Southern Africa and Australia on traditional music styles and techniques in Southern Africa, and the creative practice of intercultural composition. This project formed the basis for my PhD, which involved both creative and analytical components (2002-2007)

• Research and development of online assessment processes for music performance (2010-2013).

Fields of Research

CodeDescriptionPercentage
190399Journalism And Professional Writing Not Elsewhere Classified50
190499Performing Arts And Creative Writing Not Elsewhere Classified50

Collaboration

Areas of research include African Music, World Music, Syncretic, Inter-Cultural and Cross-Cultural Music, Computer Based education in Music, Music Pedagogy, Rhythm Theory and Neuropsychology.

Administrative

Administrative expertise

Deputy Head of School (teaching and Learning) School of Creative Arts, Faculty of Education and Arts, University of Newcastle 2009-2012.

Discipline convenor- Creative and Performing Arts (CAPA), School of Creative Arts 2013-

Teaching

Teaching keywords

  • African music
  • Computer Mediated Learning
  • Jazz and Popular Music
  • Musical rhythm theory
  • World Music

Teaching expertise

Taught university courses in psychology, communication, management and music. Most recently have taught core and elective courses in bachelor of music at Queensland University of Technology, Rhodes University (South Africa) and University of Newcastle (Australia).

Oversaw curriculum development of approx 50 courses in music at University of Newcastle

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Highlighted Publications

For publications that are currently unpublished or in-press, details are shown in italics.

YearCitationAltmetricsLink
2007Chapman J, Afro No-Clash: Composing syncretic African/Western music: eleven compositions and the frameworks for their systematic analysis, Presented to the Creative Industries Faculty, Queensland University of Technology, Brisbane, Australia (2007) [J1]

Little or no development of a contextual and compositional language exists to understand syncretic compositon. Musicologist Christian Utz writes: Research on encounters between traditional non-western music and contemporary compositional practice tends to neglect detailed musical analysis in favour of extensive socio-cultural or political frameworks In response Afro No-Clash develops four analytical frameworks including an Interpretive Codes framework. These identify types of culturally-based appeal to which each musical technical element is related. The frameworks extend the cultural interpretations of Keil and Feld (1994), and semiotic work by Nattiez (1990) and Molino (1990) and integrate these technical metatheory work by Borthwick (1995). The interpretive codes framework enables the unpacking of essential contextual, cultural and technical information related to cross-cultural compositions representative of a wider approach to syncretism than has been available in the literature to date. The album, Afro No-Clash, (190406) contains eleven compositions which explore the distinct types of syncretism identified in the analytical frameworks and demonstrate the results of using the frameworks in compositional invention and decision making. They explore modes of integrating western and African musical techniques including ostinati in unusual periodicities, hocketing, polyrhythms and antiphony. A significant contribution to the research is its the capacity to communicate to Western and Africanist audiences. Album selections have been performed in concerts such as The Brisbane Festival 2004, and The Judith Wright Centre 2005. They are broadcast regularly on ABC Classic FM. Recently the creator has been invited to submit an article to the Japan Institute of Rhythm Journal in 2010.

Publications

For publications that are currently unpublished or in-press, details are shown in italics.

Click on a category title below to expand the list of citations for that specific category.

Chapter (2 outputs)

YearCitationAltmetricsLink
2015Chapman JN, 'The "Amazing Marking Machine" A Process for Efficient, Authentic Assessment', Assessment in Music Education: From Policy to Practice, Springer, London 100-120 (2015)
2012Chapman JN, 'Music education for a world of stylistic plurality and blending', Sound Musicianship: Understanding the Crafts of Music, Cambridge Scholars Publishing, Newcastle upon Tyne 228-240 (2012) [B1]

Conference (6 outputs)

YearCitationAltmetricsLink
2009Chapman JN, 'Polyrhythm in the middle: rethinking the hierarchy of rhythm', OOO, Newcastle (2009) [E3]
2007Chapman J, 'A framework to relate cultural, ethical and aesthetic issues to the structural analysis of African/Western cross-cultural composition', Proceedings of the Australian and New Zealand Musicological Society Conference, - (2007) [E1]
2006Chapman J, 'The Creative Practice Of Composition In A Cross-Cultural Musical Setting', Music down under IV : celebrating emerging music researchers : student symposium : collected papers, vol. 1, Brisbane (2006) [E1]
2005Chapman J, 'The Creative Practice of Composition in a Cross-Cultural Musical Setting', -, Brisbane (2005) [E1]
2005Chapman J, ''Without a Song You are Nothing', Songwriter's Perspectives on Indigenising Tertiary Music and Sound Curriculum', Cultural Diversity in Music Education: Directions and Challenges for the 21st Century, Brisbane (2005) [E1]
2004Chapman J, 'Learning And Teaching Music Online: The Case Of Orchestration', -, Brisbane (2004) [E1]
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Creative Work (4 outputs)

YearCitationAltmetricsLink
2013Walker SKA, Chapman J, Dickinson T, Zangari G, Jim Chapman "Opposites Attract", performed by Sally Walker and Tara Dickinson (flutes) with Jim Chapman and Giuseppe Zangari (guitars) and display of photographs by Sarah-Jane Campbell (Australia) and Olle Holm (Sweden)., Harold Lobb Concert Hall, Newcastle Conservatorium of Music (2013) [J2]

Co-authors: SALLY WALKER

2013Chapman J, "Opposites Attract", Conservatorium Concert Hall (2013) [J2]
2012Walker SKA, Chapman J, "Kothbiro" (Ayub Ogada arr. Afro Moses and Sally Walker, performed by Sally Walker, Afro Moses), "Sweet Lullaby" (Sanchez arr. Afro Moses performed by Sally Walker/Afro Moses) , "Ndithanda le Dawo" (Jim Chapman) performed by Community players led by Sally Walker and "Flute Ancestry" (Elena Kats-Chernin/Sally Walker) performed by Sally Walker and 4 students at the Newcastle Conservatorium Community, Harold Lobb Concert Hall, Newcastle Conservatorium of Music, Newcastle NSW (2012)

Co-authors: SALLY WALKER

2007Chapman J, Afro No-Clash: Composing syncretic African/Western music: eleven compositions and the frameworks for their systematic analysis, Presented to the Creative Industries Faculty, Queensland University of Technology, Brisbane, Australia (2007) [J1]

Little or no development of a contextual and compositional language exists to understand syncretic compositon. Musicologist Christian Utz writes: Research on encounters between traditional non-western music and contemporary compositional practice tends to neglect detailed musical analysis in favour of extensive socio-cultural or political frameworks In response Afro No-Clash develops four analytical frameworks including an Interpretive Codes framework. These identify types of culturally-based appeal to which each musical technical element is related. The frameworks extend the cultural interpretations of Keil and Feld (1994), and semiotic work by Nattiez (1990) and Molino (1990) and integrate these technical metatheory work by Borthwick (1995). The interpretive codes framework enables the unpacking of essential contextual, cultural and technical information related to cross-cultural compositions representative of a wider approach to syncretism than has been available in the literature to date. The album, Afro No-Clash, (190406) contains eleven compositions which explore the distinct types of syncretism identified in the analytical frameworks and demonstrate the results of using the frameworks in compositional invention and decision making. They explore modes of integrating western and African musical techniques including ostinati in unusual periodicities, hocketing, polyrhythms and antiphony. A significant contribution to the research is its the capacity to communicate to Western and Africanist audiences. Album selections have been performed in concerts such as The Brisbane Festival 2004, and The Judith Wright Centre 2005. They are broadcast regularly on ABC Classic FM. Recently the creator has been invited to submit an article to the Japan Institute of Rhythm Journal in 2010.

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Grants and Funding

No funding.

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Research Supervision

Number of current supervisions5
Total current UoN Masters EFTSL1.48
Total current UoN PhD EFTSL0.95

For supervisions undertaken at an institution other that the University of Newcastle, the institution name is listed below the program name.

Current Supervision

CommencedProposed
Completion
ProgramSupervisor TypeResearch Title
20142018M Philosophy (Music)Principal SupervisorTeaching Multiple Genres of Voice: An Investigation of Current Practice in Australian Tertiary Music Education
20132015M Philosophy (Music)Sole SupervisorTo Investigate the Range of Approaches used by Contemporary Guitarists in their Practice and Preparation for Professional Performance
20112015PhD (Music)Principal SupervisorThe Traditional Music of East Timor
20112015PhD (Fine Art)Co-SupervisorThe Museum Qua The Evolution of a Knowledge Institution in an Era of Pervasively Networked Information Infrastructure
20092013M Philosophy (Music)Co-SupervisorTowards an Aesthetic of Groove in Music
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Dr James (Jim) Chapman

Work Phone02 4921 8926
Fax02 4921 8958
Email
PositionSenior Lecturer
School of Creative Arts
Faculty of Education and Arts
The University of Newcastle, Australia
Office
Teaching Studio 1, 2nd level Concert Hall, Conservatorium cnr Auckland and Gibson st. Newcastle 2300
Cnr Laman and Auckland Street
Newcastle NSW 2300
Australia
URL:www.newcastle.edu.au/profile/jim-chapman