Beginning in 1898, we also list three sets of mechanical recordings of songs, the latest of which were taken from live performances in 19, thus extending slightly across the divide (1 January 1901) between the colonial and federated eras.
Each set if indicated by a number (1-35), in large red font and boldfaced.Above it, also in red, is the known or estimated likely (best-guess) date of the performance/recording of each song set.Each entry is built around the source or sources that provides the relevant data (minimally, a form of musical notation or a sound recording).The individual songs within each entry are given a sub-number of the entry number (e.g. In one case (the 1898 Torres Strait material in entry 30) the entry includes a number of distinct subsidiary song-sets (e.g.30.1.1-4 = 4 Keber songs, 30.2.1-9 = 9 Keber songs), so the songs themselves are distinguished with two sub-numbers (e.g.
30.1.1), the first of which indicates the subsidiary set, the second the individual song. Cri de ralliement ["Lesueur et Bernier notaverunt"] 1.1 text: 1.1 gloss: "Come here" (and see Commentary below) 1.1 analytics: Sydney area (region); ECA (music region); South-eastern PN/ Yuin-Kuri [Sydney subgroup]/ Dharug (language) Beside the "id" heading, each song is identified by a title, either the one provided by the original author or transcriber or, where none is given, an appropriate word or phrase from the author's or transcriber's text or name, or else another description is supplied editorially.
Under each individual song heading is a block of text in red, which summaries and tabulates linguistic data for each song. So, for example, the song identification line for one of the songs from south-western Western Australia published in 1892 reads thus: "28.3 id: Calvert 3 (corroborie)".
Where "text" and/or "gloss" for a song occur in the source, these are transcribed after the song identification line.
Development of this checklist was assisted by funding and infrastructure support from Professor Linda Barwick (Associate Dean Research), Sydney Conservatorium of Music, University of Sydney; and the Sydney Unit of PARADISEC (Pacific and Regional Archive for Digital Sources in Endangered Cultures).
This web page represents the first stage of a long-term project to create an open access web log of all surviving colonial era documentation of Australian Indigenous song and dance as a specifically musical resource.
Musically specific documentation of ceremonial and recreational song-making, singing, and dancing from the period can be sorted into four cascading categories:  pictorial depictions;  written verbal descriptions;  verbal transcriptions of song texts; and  written musical transcriptions and, at the very end of the colonial era, mechanical recordings.