Brent Keogh is a Lecturer in Communication at UTS, and currently convenes 54092 Culture: Plugged and Unplugged, 58301 Communications Practice Project and teaches in 5409 Audio Production. He completed his doctoral studies at Macquarie University in 2014, examining the discourse of World Music in Australia. His current research interests include exploring perceptions of intimacy through immersive audio/visual technologies, sonic branding, and music sustainability. He is also a songwriter and musician, and plays a number of instruments including guitar, vocals, mandolin and middle eastern lute (oud).
- Zemke, K. and Keogh, B. (2020 Forthcoming) ‘“How Far I’ll Go?: The circulations of Aotearoa (New Zealand) Maori and Pasifika Pop Musics’ in Jason Beaster-Jones and Kariann Goldschmitt (eds.) The Oxford Handbook of Global Music Industry Studies, Oxford University Press.
- Keogh, B., Brunt, S., and Giuffre, L. (2019 ) ‘Sounds like Australia? Listening to Australia’s Eurovision Song contest, in Jess Carniel (ed.) Understanding the Eurovision Song Contest in Multicultural Australia: We Got Love. Palgrave MacMillan.
- Evans, M. and Brent Keogh (2017) ‘Film and Television Music’ in Christopher Patridge and Marcus Moberg (eds.), The Bloomsbury Handbook for Religion and Popular Music.
- Keogh, B. (2015). “‘A Tale of Five Festivals’: Exploring the Cultural Intermediary Function of Australian Jazz Festivals.’ Antipodean Riffs: Essays on Australasian Jazz, Sheffield (UK): Equinox Publishing
Peer-reviewed Journal Article
- Keogh, B. and Collinson, I. (2016) “The (Ab)Uses of Music Ecology” MUSICultures, vol 42/1.
- Keogh, B. (2016) “Riff: Interview with flamenco guitarist Damian Wright.” Perfect Beat, Issue 1.
- Keogh, B. (2016) ‘Swords, Sounds and Forests: An Exploration into the Representations of Music and Martial Arts in Contemporary Kung Fu Films.’ IAFOR Journal of Asian Studies, vol.2, issue 1.
- Keogh, B. (2015) ‘The Wizard of Oud: Identity and Networks of Patronage in the Contemporary Australian World Music Scene.’ Journal of Music Research Online, vol. 6.
- Keogh, B. (2014) ‘Between Theory, Representation and Practice of Maqam: Rethinking the Representation of the Arabic Maqamat. Analytical Approaches to World Music Journal, vol. 3 no. 2.
- Keogh, B. (2013). ‘On the Limits of Music Ecology’, Journal of Music Research Online, vol. 4. ISSN: 1836-8336.
Peer-reviewed Conference Proceedings
- Keogh, B. (2013). ‘The CALD Front: A Summary Report of Arts Funding for Diverse Musical Disciplines in Australia.’ In: Wilson, Oli (Editor); Attfield, Sarah (Editor). Selected papers from the 2012 Australia/New Zealand IASPM Conference: International Association for the Study of Popular Music Australia New Zealand Branch [November 2013].
- Keogh, B., and Alter, A. (2013). ‘Some Preliminary Thoughts on Patterns of Programming in Australia’s World Music and Folk Festivals.’ In: Wilson, Oli (Editor); Attfield, Sarah (Editor). Selected papers from the 2012 Australia/New Zealand IASPM Conference, International Association for the Study of Popular Music Australia New Zealand Branch [November 2013].
- Keogh, B. (2012). ‘The Oud, the Bad and the Ugly: Transmitting 'roots' in the discourse and experience of World music in Australia.’ In: Giuffre, Liz (Editor); Spirou, Penny (Editor). Routes, Roots and Routines: Selected papers from the 2011 Australia/New Zealand IASPM Conference. Sydney, N.S.W.: International Association for the Study of Popular Music Australia New Zealand Branch, 2012: 34-41. ISBN: 9780975774755
Popular Music, Immersive Media, Ecomusicology
Music, Media, Cultural Studies, Communication
© Equinox Publishing Ltd 2018. A brief internet search of the phrase 'the Jimi Hendrix of...' followed by any instrument (for example, the bass guitar) reveals numerous examples of musicians promoting themselves, being marketed or being reviewed as the 'Jimi Hendrix' of that instrument. While some of the comparisons being made are arguably less tenuous-electric sitar, oud, mandolin-other instruments stretch the analogy. These include the 'Jimi Hendrix' of the bagpipe, clarinet, washboard, sampler and the jug. This phrase is not only applied to instrumentalists but sometimes takes on a national, racial or geographic dimension: such is the case with Mikhl Yosef Gusikow, described as the Jewish 'Jimi Hendrix', and Bombino, the 'Jimi Hendrix' of the Desert. This article critically examines the instances in which the phrase 'the Jimi Hendrix of the [insert instrument here]' is used to market and promote contemporary musicians. I explore some of the reasons why the rock guitarist Jimi Hendrix continues to be invoked as musicians position themselves in global markets, drawing attention to different aspects of the Jimi Hendrix myth that are appropriated by musicians and the various discourses around music practice. In order to do this, I employ Greenblatt's theory of social energy to critically frame such statements beyond the limits of political economy, as well as document contemporary cases of this phenomenon.
© Equinox Publishing Ltd 2016, Office 415, The Workstation, 15 Paternoster Row, Sheffield S1 2BX. In this Riff article, Brent Keogh speaks to Sydney-based flamenco guitarist and ARIA award nominee, Damian Wright. The interview discusses Wright's experiences and perspectives on world music in Australia. Where much of the academic discourse on world music focuses on broader theorization and systemic critiques, the following interview presents experiences and insights from a musician contributing to, and working in, the complex discursive space of world music in Australia. In doing so, Wright's perspectives contribute to broader discussions concerning the politics of otherness, musical patronage and cultural diversity in Australian music.
Keogh, BG 2016, 'The (Ab)Uses of Music Ecology', MUSICultures, vol. 42, no. 1.
Keogh, BG 2015, 'The Wizard of Oud: Identity and Networks of Patronage in the Contemporary Australian World Music Scene.', Journal of Music Research Online, vol. 6.
Keogh, BG 2014, 'Between Theory, Representation and Practice of Maqam: Rethinking the Representation of the Arabic Maqamat.', Analytical Approaches to World Music Journal, vol. 3, no. 2.
Keogh, BG 2013, 'On the limitations of music ecology', Journal of Music Research Online, vol. 4.
Keogh, BG 2013, 'Some Preliminary Thoughts on Patterns of Programming in Australia’s World Music and Folk Festivals', Selected papers from the 2012 Australia/New Zealand IASPM Conference.
Keogh, BG 2013, 'The CALD Front: A Summary Report of Arts Funding for Diverse Musical Disciplines in Australia', Selected papers from the 2012 Australia/New Zealand IASPM Conference.
Keogh, B, '‘A tale of five festivals’: Exploring the cultural intermediary function of Australian jazz festivals', Jazz Research Journal, vol. 8, no. 1-2, pp. 182-201.View/Download from: Publisher's site
Keogh, B, Brunt, S & Giuffre, E 2019, 'Sounds Like Australia? Listening to Australia’s Eurovision Song Performances' in Hay, C & Carneil, J (eds), Eurovision and Australia: Interdisciplinary Perspectives from Down Under, Palgrave Macmillan, USA, pp. 101-121.
Scholars have paid considerable attention to the media, political, national-cultural, and national-economic dimensions of Eurovision (Wolther 2012). This chapter, however, looks to the “musical dimension” (Wolther 2012: 166), asking if Australia’s song entries in Eurovision sound like Australia. Drawing on popular music studies, the authors consider the ways in which songs, and the performers that sing them, may or may not function as signifiers of the nation state. In doing so, we “listen to” and sonically analyse Australia’s five Eurovision song performances from 2014 to 2018: interval act Jessica Mauboy's “Sea of Flags” (2014), Guy Sebastian’s “Tonight Again” (2015), Dami Im’s “Sound of Silence” (2016), Isaiah Firebrace’s “Don’t Come Easy” (2017), and Jessica Mauboy’s “We Got Love” (2018). Our conclusions point to the dual concern of sonically presenting a national distinctiveness and the desire to be accepted on the world stage.
Keogh, BG & Evans, M 2017, 'Popular Music and the Religious Screen' in Christopher Patridge & Marcus Moberg (eds), The Bloomsbury Handbook of Religion and Popular Music, Bloomsbury, New York, pp. 338-346.
Keogh, BG 2015, 'A Tale of Five Festivals’: Exploring the Cultural Intermediary Function of Australian Jazz Festivals' in Antipodean Riffs: Essays on Australasian Jazz, Equinox Publishing.
Keogh, BG 2011, 'The Oud, the Bad and the Ugly: Transmitting 'roots' in the discourse and experience of World music in Australia', Routes, Roots and Routines: Selected papers from the 2011 Australia/New Zealand IASPM Conference, 2011 Australia/New Zealand IASPM Conference, International Association for the Study of Popular Music, Wellington, New Zealand, pp. 34-41.
The subject of World music has been scrutinized by scholars since the first use of this term by record companies in 1987 (see for example Mitchell, 1993; Erlman, 1996; Feld, 2000; Frith, 2000; Brennan, 2001; Bohlman, 2002; Brusila, 2003; Stokes, 2004; Smith, 2005; Scott-Maxwell, 2008). The following paper builds on this research, discussing tensions between the marketing discourses of World Music in Australia, contrasted views expressed by some of the musicians working in these performance contexts. Drawing on ethnographic data gained in interviews with musicians from culturally and linguistically diverse music styles working in Australia, this paper considers the effects of this apparent disjunct between discourse and practice from the perspective of ARIA award winner and Hindustani tabla player Bobby Singh. His experiences working in this space will be positioned within a wider discourse that engages issues of musical diversity in Australia