by Joseph Tabua

The investigation that David Nolan and I are undertaking at Fine Music 102.5 is from the perspective of constructed knowing. Through this professional practice response we are aiming to unpack the real and material conditions which enable, or inhibit, the creative life. Through collaboration, I am able to conceptualize two key parameters such as ‘Shared Values’ and ‘Objectives.’ These guideline components will operate as a point of departure in helping shape and define our methodological research. As researchers we are cognizant and do not rely on intuitive, instinctual thinking.[1] Therefore, this collaboration, I consider is an avenue that will sustain a generative dialogue.

Joseph Tabua
September 2014

This research will investigate the realm of Sydney’s first radio station to appear on the FM bandwidth, FINE MUSIC 102.5, FINE music radio specializes in the classical music genre. My inquiries will consider various strands that branch from complex engagements and the hypothesis that is ordinarily unrecognized inside the undertaking of a community based radio station.
Working in collaboration with David Nolan, who will be investigating to a greater extent the practical parameters inside Fine music. David’s individual research will be focused upon the technological practicalities in co-operation with my analysis of the inner social interactions at Fine music. Our chief objective is to derive a concise narrative that will support the reflective and factual accounts we shall gather as interns at FINE music. It is then also by immersing oneself inside this discipline; we can interpret both the ethnographic and logistic apparatus in a clear and lucid style. Collaboration will be mobilised by way of our individual WordPress sites https://josephtabua.wordpress.com in addition to this, weekly conferences will take place each week at UWS, Kingswood. Since Week 2 Spring session I have put in motion a reflective process diary, which can be viewed on my individual WordPress site. My impression of working at FINE music and the ambience of the place have already been documented and this reflection will continue with more educational snippets and videos to be uploaded at intervals. The intention of this research is to delve into the arrangement of processes. For E.G how is a program or live performance developed, from off site recordings, to on site broadcasts, all of which are interrelationship-based disciplines. By conducting this research it will also inform me of the audience and the phenomenon to assimilate into the radiobroadcasting milieu. The effectiveness of collaboration encourages us to establish disparate processes in which this permits the analysis of information accumulated, for research methodologies are never ‘objective’ but always located, informed by particular social positions and historical moments and their agendas.[2] The ultimate goal is for scholarly discourse to emerge as the result of this cross-connecting practice. Considering the time frame we have left to explicate this newly acquired data, I am confident that by the conclusion of this research, what should result is a sophisticated, theoretical and logical presentation.


Bartlett, B., & Bartlett, J. (1998). Practical recording techniques. Boston: Focal Press.

Eyerman, R., & Jamison, A. (1998). Music and social movements: Mobilizing traditions in the twentieth century. Cambridge [England: Cambridge University Press.

Hannan, M., & Music Council of Australia. (2003). The Australian guide to careers in music. Sydney: University of New South Wales.

John-Steiner, V. (2000). Creative collaboration. Oxford: Oxford University Press.

McLeish, R. (1999). Radio production: A manual for broadcasters. Oxford: Focal Press.

Neill, A., & Ridley, A. (2002). Appreciation and the Natural Environment. In Arguing about art: Contemporary philosophical debates (p. 127). London: Routledge.

Saukko, P. (2003). Doing research in cultural studies: An introduction to classical and new methodological approaches. London: SAGE.

[1] John-Steiner, V. (2000). Creative collaboration. Oxford: Oxford University Press.


[2] Saukko, P. (2003). Doing research in cultural studies: An introduction to classical and new methodological approaches. London: SAGE.

New Field International Eductaion Group

 Tabua Harrison Sydney, Australia 2014
My experimental noise-rock group Tabua Harrison performed on Friday the 29th of August at the Sydney Opera House: Playhouse, as part of the Chinese Australian cross cultural education initiative.

Tabua Harrison is Holly Harrison-Drums & Joseph Tabua-Guitar

Tabua Harrison is Holly Harrison-Drums & Joseph Tabua-Guitar

Performers on the night came from far and wide, from places such as China, New Zealand, Wollongong and the Greater Western Sydney region. Tabua Harrison obviously represented the University of Western Sydney contingent as there were participants from the UNSW, Sydney University and the Conservatory High School who were also involved in this enjoyable occasion.

New Field International Education Group

New Field International Education Group

Sharing the stage with many unique cultures.

Sharing the stage with many unique cultures.

Arriving at the stage door of the opera house for sound check was both exciting and terrifying, one holds a great deal of expectation even when you are the audience, you expect nothing but quality performances and splendor, but to be the attraction on this night was a real pleasure and a privilege.
Tabua Harrison walked onto stage at approximately 8pm, it was a fleeting yet, energizing performance, the audience were very enthusiastic and one sensed that it was a nice change of pace to hear some loud tribal-like rhythmic drums and timbrel explosions via a pulsating electric guitar. The easiest part of this day was the performance, why was this so? One shall never know, perhaps it is better left unanswered. One can comprehend that for an undertaking such as this can take several months or even years to organize, however, it is with these exchanges, a tangible cross cultural pathway is generated. A paramount interchange is amplified significantly when we share our artistic endeavors as we did tonight on the playhouse stage. By sharing our music, our literature, and our stories with one another, we can be certain that traditions like this in the Western/European paradigm will continue for many years to come.

Playhouse Stage

Playhouse Stage

Overall, the experience and professionalism that I observed, from stage management, security, chefs, and the staff were extraordinary. There appeared to be a higher level of consciousness at work here, in this awe-inspiring building, however, I appreciate that an organization such as the Sydney Opera House is an Australian icon,a symbol of excellence.
Holly HarrisonBack stage