The enhanced stability of sustain in the Stuart sound is apparent in the sonorous after –sound ⁶¹ of the dissonant bird call gestures in Etym along. The first three composed gestures of Etym along are notated in the table 0.1 below. Gesture 1 is repeated intermittently.The attack of the sound is abrupt and dissonant, followed by sonorous after-sound sustain. Eventually the motive moves to include gesture 3, which stretches over the wide spectra of the Stuart soundscape. Each gesture is interpreted and listened to vertically, statically and minimally, each as a complete entity, gesture, or colour.

In Etym along and Earth-Flowering-Time each composer has musically depicted visual and sonic details that portray closeness with the natural Australian environment. The Stuart piano soundscape portrays these images very clearly.In the titles, the composers’ words and in the abstract openness of the music, there is also an oblique acknowledgement of Australian Aboriginal cultures.From the perspective of this research, these recordings set the beginning of an artistic association between the sound of the Stuart piano and the initiatives of non-Indigenous Australian artists to interact with Australian Indigenous artists and art forms. In chapter six I describe my use of the Stuart piano sound as my sound to collaborate musically with Aboriginal musicians in their music practises.

In the latter half of the 1990s, the local media frequently described the Stuart & Sons piano as ‘Australia’s new piano’. The back sleeve of the first CD release of the Stuart piano soundMere Bagatelles, featuring the pianist-composer Ian Munro, revealed to the pubic the first detailed written description about its design:

⁶¹A technical term used to describe the sound of the piano note that lingers, or sustains, after the initial attack of the note . see , ²We in reich. The Coupled Motion Of Piano Strings.
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