ABSTRACT
Moving a little closer to Jindyworobakism at least with regard to the interest in Aboriginal culture were two ballet scores by Esther Rofe written in the 'Jindyworobak period'. Sutherland was inspired by the phrase 'haunted hills' as a perfect title for her composition in which she sought to not only depict the landscape but also the 'ghosts' of the past, namely the Aboriginal people. Indeed the fundamentally romantic nature of the Australian countryside for an already predominantly urban society had pre-echoes back to Federation and pre-Federation artists such as the 'bush balladeers' and the 'Heidelberg School' of painters. The extended use of continuous non-repetition of material is also seen in another of Percy Grainger's very early works, the shorter but still substantial tone poem, Marching Song of Democracy – originally scored for choir and orchestra and later transcribed for wind band.
