A mixing desk in a recording studio
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Sounding Australia

BY
 Johnny Milner

Warning: this page may contain names, images and voices of deceased Aboriginal and Torres Strait Islander people.

From the crackling voices of early radio broadcasts to the pristine digital clarity of contemporary music, the NFSAs sound recordings span more than a century and encapsulate our cultural, historical and technological evolution.In this article, we explore some key examples from our Sounds of Australia capsule, the NFSA’s annual selection of iconic audio moments, honouring recordings that have resonated deeply with communities and audiences across the country.

 

Marvels of technology 

Except for an echo, only a recorded sound can be heard again. When contemplating that astonishing idea, we can begin to appreciate the degree to which sound technologies have fundamentally changed our society. Our own recorded sound history in Australia began with the arrival of gramophones and phonographs in the late 19th century. These marvels of technology used mechanical methods to capture patterns of sound waves, etching them onto physical media such as wax cylinders or later, vinyl records. This technological breakthrough allowed for the preservation and dissemination of music, voices, speeches, and other forms of audio that had previously been only transient and fleeting. 

Read more about vintage sound equipment

 

Early recordings 

Our Sounds of Australia capsule features many recordings that provide a glimpse into the voices of a world long past. In those annals of our recorded sound history, one event stands out as a quirky yet significant milestone: the ‘Hen Convention' (1896), in which raucous imitations of chickens became the subject of a pioneering audio experiment. 

Other early treasures include thethree-minute Edison Phonograph recording of Sir Ernest Shackleton describing his Antarctic expedition. Renowned for his relentless pursuit of the unknown, Shackleton recounts the loss of his pony named Socks, who fell into a crevasse. 

In this 1914 segment, we hear Second Lieutenant Henry Miller Lanie from the dusty environs of Mena Camp, Cairo. This is the only known audio of an Australian soldier poised to enter battle in the First World War. He was killed in action just a few years later. 

And if you fast forward to 1958, youll hear a wonderful excerpt from an elderly Dorothy McKellar reading the first stanza of her 1904 homesick poem ‘My Country (first line: 'I love a sunburnt country'). A striking element in all these vocal examples is how they are imbued with emotion, cadence and nuance, carrying the essence of a time and a place. 

Our selection also features a precious record of First Nations cultural heritage and linguistic diversity. One extraordinary entry is that of Fanny Cochrane Smith, the last fluent speaker of any of the original Tasmanian languages. This recording from 1903 is a remarkable auditory window into a lost world but also a sombre reminder of the devastating impact of colonialism on Indigenous populations. 

 

'The Hen Convention' by Thomas Rome, performed by John James Villiers, 1896. NFSA title: 452097

 

The sound of speeches 

Recorded sound allows us to experience pivotal moments in history. As we listen to stirring speeches – whether fervent calls to action or impassioned pleas for justice – we can begin to understand the profound implications sound recordings have had on politics and their ability to transcend the limitations of text or still imagery.  

The NFSA capsule holds several speeches that shaped Australia. This includes Robert Menzies’ solemn 1939 announcement that Great Britain has declared war, and therefore Australia is also at war. There is also Julia Gillards celebrated misogyny speech (2012), which inspired public discussion about sexism and women in the workplace.Perhaps the most iconic speech of these, however, is the Gough Whitlam dismissal speech (1975), marking one of the most controversial events in Australian political history. 

 

Sounds from the sporting field  

Sounds of Australia features memorable audio moments in sport that continue to shape our cultural identity. Take, for instance, this recording of a young Don Bradman speaking about his 1930s ashes tour, or the 1941 Melbourne Cup, as called by commentator Ken Howard. His voice was famous for making horse races vivid to the listener, employing turns of phrase to communicate the speed, the tension and the exhilaration of a great horse race.   

The capsule also features a recordingofhighlights from the 1956 Melbourne Olympics, the first Australian event to be covered extensively on both radio and television; and the 1968 radio broadcast of the bantamweight world title fight between First Nations boxer Lionel Rose and Masahiko Harada of Japan.  

Read more about First Nations Sporting moments and Australia’s Olympic achievements.

 

Olympic Games, Melbourne 1956: Official souvenir recording of Opening Ceremony. NFSA title: 312957

 

The sound of music 

Our Sounds of Australia capsule is a testament to the diverse forms of Australian musical expression, spanning various genres, mediums and periods. These include catchy jingles like the Aeroplane Jelly advertisement (1938), sports anthems such as ‘Up there Cazaly’ (1979), and film music classics like the theme from The Man from Snowy River (1982). 

Our curated capsule proudly preserves some of the earliest musical recordings of women artists, such as the operatic soprano voice of Dame Nellie Melba. This early recording, as well as many others,helped democratise access to high art forms such as orchestral music and opera, making them accessible to a wider audience. 

 

Bush ballads and pub rock  

Our national soundtrack includes pioneering bush ballads. These range from the humorous to the melancholic, but they are connected in the way they depict the life, character and scenery of the Australian bush. The most famous of these ballads is 'Waltzing Matilda' often regarded as our unofficial national anthem. 

And what about pub rock classics like Cold Chisel’s 'Khe Sanh' (1978), a song about the experience of the Vietnam War and the lingering aftereffects on those who served there? And in any discussion of epochal Aussie music, we must mention ‘Down Under’ (1981), which quickly reached number one in Australia, the UK and theUSA. The song’s lyrics celebrate the natural beauty of the landscape and our laidback lifestyle, helping to sell an image of ourselves to the outside world 

While there are so many other worthy music examples, Yothu Yindi’s ‘Treaty(1991) deserves a special mention as an unforgettable protest song and scathing critique of Australia's political leaders for their failure to deliver on the promise of a treaty. The songs use of Yolngu language, rhythms and instrumentation (such as the didgeridoo and clap sticks) help define a popular music sound that is unlike anything else and projects a powerful First Nations narrative.  

 

Excerpt from the music video for 'Treaty' by Yothu Yindi (1991). Courtesy: The Mushroom Group. NFSA title: 1659428

 

Sounds of the landscape and nature 

Some of the most moving recordings in the capsule are those of the Australian landscape, flora and fauna. These include mesmerising humpback whale song recordings taken off the coast of Eastern Australia during their cycle of migration, and a male koala whose repeatedsnorts and grunty belches seek to impress a potential female partner.  

Another striking example is of a lyrebird. These birds are incredible mimics and often imitate nature, but in this strange and rare recording, the lyrebird imitates an electronic computer game. These sounds are moving, connecting us to the Australian wildlife and habitats that must be conserved. 

 

Sounding future 

The Sounds of Australia gives access to a diverse collection of our recorded sound history. But countless other sonic items in the capsule deserve mention, including sounds for games, sound design for film and television, and sound art, to name a few.  

In an era where sound recording information has become completely familiar, digital archiving is as essential as ever for preserving the vast quantities of sound data generated daily. Given many older sound technologies, such as magnetic tape, are deteriorating, there is an ongoing need to capture our audio heritage before its too late and it is lost forever.