This article combines new research into the life and musical output of Australian expatriate composer and nineteenth Master of the Queen's Music, Malcolm Williamson (1931–2003). Focusing on one of his ‘cassations’ (mini-operas) for musically untrained children, The Glitter Gang (1973–1974), new conclusions are drawn about how this often controversial composer developed a philosophy of inclusiveness and expressed it through his music. The Glitter Gang was one of the few works that Williamson wrote about his homeland, Australia, and the first in which he expressed his views pertaining to the rights of indigenous Australians. This article examines the context in which The Glitter Gang was composed and shows how he projected his Australian identity and attempted to influence political discussion through this intriguing musical work. Detailed analysis of the score reveals that it is a deeply sophisticated composition, especially considering its intended performers, and demonstrates how Williamson retained his unique compositional voice in the cassations. Significantly, this research shows that like other works which were rejected by Australian audiences and critics in the 1970s, The Glitter Gang can now be reappraised as an important and innovative Australian composition.

中文翻译：

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闪闪发光的帮派（1973–74）：马尔科姆·威廉姆森关于社会包容性及其澳大利亚身份的观点的缩影

本文结合了对澳大利亚外籍作曲家的生活和音乐输出的新研究，以及第十九位女王音乐大师马尔科姆·威廉姆森（Malcolm Williamson，1931-2003年）。吉尔特·格兰特（1973-1974）专注于他的一个未受过音乐训练的孩子的“临时”（迷你歌剧），得出了关于这个经常引起争议的作曲家如何发展包容性哲学并通过他的音乐表达的新结论。闪闪发光的帮派是威廉姆森（Williamson）撰写的有关他的祖国澳大利亚的几部作品之一，也是第一部表达有关澳大利亚土著人权利的观点的作品。本文考察了“闪闪发光的帮”的构成背景，并展示了他如何投射自己的澳大利亚身份，并试图通过这种有趣的音乐作品来影响政治讨论。对乐谱的详细分析显示，这是一首非常复杂的乐曲，尤其是考虑到其预期的表演者，并展示了威廉姆森如何在复审中保留其独特的乐曲声音。值得注意的是，这项研究表明，与其他在1970年代被澳大利亚观众和评论家拒绝的作品一样，《闪闪发光的帮派》现在可以被重新评价为一种重要的创新澳大利亚作品。