Sound, Music, Context

Honours and Postgraduate Music

Research Day

30 November 2012

Magill campus Hartley Playhouse Theatre D1-09

Adelaide, South Australia

Australia

Presented by the School of Communication, International Studies and Languages and the Musicological Society of Australia, South Australian Chapter

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PROGRAM

Venue: Hartley Playhouse, D1-09, Magill Campus, University of South Australia

8.00 –8.25

REGISTRATION

8:25–8:30

Welcome address and acknowledgement of country

Associate Professor Denise Wood, Associate Head of School:

Teaching & Learning, School of Communication, International

Studies and Languages, University of South Australia

SESSION 1

8:30–10:15

Music & Identity

‘Suck more piss’: How the Confluence of Key Melbourne-based

Audiences, Musicians, and Iconic Scene Spaces Informed the Oz

Rock Identity

Paul Oldham (PhD Candidate)

University of South Australia

Musical Time Capsule: Zeus and the Maintenance of Cultural

Identity through Musicking amongst the Greek Diaspora

Community in Adelaide

Kosta Pandos (Honours Candidate)

The University of Adelaide

Context, Sound, and Malaysianness: The Music of Chong Lim NG

(b.1972)

Peck Jin Gan (PhD Candidate)

The University of Adelaide

Strategic Diffusion and Music Marketing; The Uneasy

Relationship Between Subcultures and Music

Clementine Hill (PhD Candidate)

University of South Australia

Chair: Steven Knopoff

The University of

Adelaide

10.15 – 10:30

SESSION 2:

10:30 – 12.00

MORNING TEA BREAK

Functional Sound & Music

‘Science Adjusts its Views Based on What’s Observed’: A

Performance Analysis of Tim Minchin’s ‘Storm’

Natalie Texler (Honours Candidate)

University of South Australia

The Sounds of Slapstick Folly in commedia dell’arte with Special

Reference to ‘The Marriage of Flavio and Isabella.’

Corinna Di Niro (PhD Candidate)

University of South Australia

Chair: Dr Daniela Kaleva

University of South

Australia

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12:00 – 12:45

Sound, Noises and Local Identity

Phil van Hout (PhD Candidate)

University of South Australia

LUNCH BREAK

SESSION 3:

12.45 – 14.30

14:30 – 14:45

SESSION 4:

14:45– 16:15

16:15 – 16:30

Creative Contexts of Music Composition

Sir Andrzej Panufnik; A Study of Musical Dislocation

Blake Parham (Masters Candidate)

The University of Adelaide

Don Banks, a Pragmatic Modernist

James Koehne (PhD Candidate)

The University of Adelaide

Musical Transculturation at the 11th Festival of Pacific Arts: A Creative Approach to the Sustainability of Tradition in Francophone Pacific Islands Geoffroy Colson (PhD Candidate) The University of Adelaide

Percy Grainger and the New World of Concert Pianism in

America (1914-1925)

Natalie Bellio (Masters Candidate)

The University of Melbourne

AFTERNOON TEA BREAK

Performance Practice

‘Unplayable’? Performance Issues in the Flute Music of Felix

Werder

Melanie Waters (PhD Candidate) The University of Adelaide

The Significance of the Curtal in Solo and Consort Music from

1550-1700: Repertoire, Technique and Performing Practices

Jackie Hansen (PhD Candidate) The University of Sydney

Can Conducting be Taught?

Luke Dollman (PhD Candidate) The University of Adelaide

AFTERNOON TEA BREAK

Chair: Associate

Professor Nicholas

Routley

The University of Sydney

Chair: Associate

Professor Michael

Halliwell

The University of Sydney

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SESSION 5:

16:30 – 18:00

Piano Performance Practice

A Generative Process for Learning and Memorising Tonal Piano Repertoire Elizabeth Foster (PhD Candidate) The University of Adelaide

Music as History: 24 Preludes for Piano Op.34 (1932-33) by

Dmitri Shostakovich

Chair: Dr Paul Watt

Monash University

18:00 – 18:05

18:05 – 18:10

Debra Andreacchio (Masters Candidate) The University of Adelaide

Carnal Musicology and Twentieth Century Piano Performance

Practices

Alejandro A. Téllez-Vargas (PhD Candidate) The University of Melbourne

Honours and Postgraduate Music Research Prize

Closing address

Associate Professor Susan Luckman

Associate Head of School: Research, School of Communication,

International Studies and Languages, University of South

Australia

Steven Knopoff

The University of

Adelaide

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ABSTRACTS

Session 1: Music & Identity ‘Suck more piss’: How the Confluence of Key Melbourne-based Audiences, Musicians, and Iconic Scene

Spaces Informed the Oz Rock Identity

Paul Oldham (PhD Candidate), University of South Australia

Oz Rock was Australia’s hegemonic form of rock from the early-1970s to mid-1980s. It was formed in

Australian-specific, aggressive male-dominated scene spaces and became the spearhead of Australian rock’s

most successful penetration into the international rock market and audiences (as evidenced and defined by

AC/DC). As Turner (1992, p. 24) has argued, Oz Rock audiences, contexts and environments have been integral

to its identity and cultural function as performance and event. While commendable work has been written

about Australia’s scene spaces (particularly Homan 2003; Stratton 2007), most remain Sydney-centric and

typically overlook the equally (if not more) important Melbourne rock scene. In all cases the fermentative

period of Oz Rock—and especially the combined roles played by its early audiences and venues—remains

under-examined. Therefore, this paper looks at how the musicians, audiences and live music spaces interacted

to feed into the construction of an Oz Rock identity. Specifically it will explore the intermingling flows which

make up the late-‘60s/ early-’70s rock music performances and how the specific demands of Melbourne’s fluid

audiences and venues in Oz Rock history have influenced, and been influenced by, the development of various

subgenres, youth cultures (such as the sharpies) and audiences specific to the Oz Rock era using a key case

study of Nunawadings’s White Horse Hotel and Mulgrave’s The Village Green. In conclusion, this paper will

argue that the trajectory of flows which led to the shape and sound of Oz Rock are instrumental to its success.

Musical Time Capsule: Zeus and the Maintenance of Cultural Identity through Musicking amongst the Greek

Diaspora Community in Adelaide

Kosta Pandos (Honours Candidate), University of Adelaide

The cultural identity and maintenance of a diaspora community are habitually linked to the performance of

music, the act of performance or ‘musicking’ allowing a community to reengage with traditions of their

homeland. This study investigates how the band Zeus, through their musicking, have maintained a sense of

cultural identity amongst the Greek diaspora community in Adelaide. This paper first presents a brief historical

perspective concerning the migration of South Australian Greeks, followed by an overview of Greek musical

genres and resources in South Australia. Based on fieldwork within Adelaide, the paper then discusses Zeus’

musicking process including repertoire and the events in which they participate. It concludes that Zeus is in

fact a ‘musical time capsule’ of Greece and is one successful example of maintaining the Greek diaspora

community in Adelaide in 2012.

Context, Sound, and Malaysianness: The Music of Chong Lim NG (b.1972)

Peck Jin GAN (PhD Candidate), The University of Adelaide

Over the last decade, Malaysian contemporary music, as an emerging musical art form, has rapidly gained

increasing recognition nationally in Malaysia and internationally. Akin to composers in the Asia region such as

Tan Dun (b.1957) and Toru Takemitsu (1930-96) who expressed their Chinese and Japanese cultural identities

respectively through their compositions, preliminary investigation suggests that Malaysian composers are also

using music as a means to explore their own sense of what it is to be Malaysian. Despite its importance as part

of the Malaysian nation building process, no study has been undertaken to address the role of Malaysian

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contemporary music in negotiating the Malaysian cultural identity. This paper investigates the expression of

Malaysian cultural identity within a selected work of Malaysian contemporary music composer, Chong Lim NG

(b.1972). Ng represents the new generation of composers who are trained overseas but who have returned to

Malaysia to further their music career. Adopting a content analysis methodology, the paper will first briefly

establish the current socio-cultural context for Malaysian composers such as Ng. Second, musical analysis will

reveal the ways that Ng accommodates culturally, ethnically and aesthetically diverse musical and non-musical

characteristics of Malaysia into the soundscapes of his works. It argues that Ng demonstrates the ways that his

compositions not only serve as an expression of his own Malaysian cultural identity but also more generally

represent the way that Malaysian contemporary music is an agency for negotiating what it is to be Malaysian

in the 21st century.

Strategic Diffusion and Music Marketing; The Uneasy Relationship Between Subcultures and Music

Clementine Hill (PhD Candidate), University of South Australia

It is well established that at least since the mid-twentieth century, music and subcultures have always gone

hand in hand. However less clear is what role marketing has played in establishing these connections. Emo

bands are particularly resonant in this argument, given many of the bands labeled as “Emo” were around far

before the subculture hit its popularity peak in the middle 2000s. Although the subculture itself has been

around since the 1980s it was only around 2006 that it became popular and spread across the globe. Bands

such as AFI (A Fire Inside) and Fall Out Boy have been similarly positioned in relation to the subculture, with

the genre of the band changing from “Pop-Punk” or “Rock” to “Emo”. With both of these bands, the label of

Emo may have steamed from the influence of the “headline members” AFI lead singer, Davey Havok, and Fall

Out Boy bass guitarist, Pete Wentz who both had the physical traits of Emos at the time their respective

albums were released, though this too could have been driven by the market. This leads to questions such as,

how do we define the category of a band? Is the categorisation of a band a fluid process depending on the

album released at the time? Who defines a band, music press, the fans, bands themselves or their labels? Thus

it is not a question of either/or (music or subculture) rather, what can an examination of Emo-marketed bands

reveal about the complex relationship between music marketing and subcultural diffusion?

Session 2: Functional Sound & Music ‘Science Adjusts its Views Based on What’s Observed’: A Performance Analysis of Tim Minchin’s ‘Storm’

Natalie Texler (Honours Candidate), University of South Australia

This paper analyses Tim Minchin’s piece Storm in a performance recorded live at the Queen Elizabeth Hall in

London on 8 December 2008. The piece comprises of text declamation, musical accompaniment and visual

elements such as body movement, acting and gesture but also costume and make-up. This contemporary

performance features poetic text, in combination with music and modern context that have not been

previously addressed by scholarly research in regards to performance analysis.Utilising performance analysis;

the study examines how the performance text, music structure and visual aspects of the performance create

an effective performance paradigm in four examples from Minchin’s performance. The thesis deconstructs the

text and compares it to beat poetry and to the dramatised elegy which is typical of other performance. The

structural analysis aims to highlight the interaction between visual and auditory elements as part of the

performativity of the piece as a whole, and cement Storm’s place as a performance worthy of academic

relevance.

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The Sounds of Slapstick Folly in commedia dell’arte with Special Reference to ‘The Marriage of Flavio and

Isabella.’

Corinna di Niro (PhD Candidate), University of South Australia

The commedia dell'arte is the 16th century comic art form that grew out of an economic and political crisis

Italy faced where citizens looked for ways to survive. People joined together to offer entertainment in

exchange for payment. ‘Commedia’ during that time meant ‘theatre’ and ‘arte’ meant ‘trade’, thus commedia

dell’arte, the first form of professional theatre. My research into the performance and pedagogy of commedia

dell'arte in Australia is situated in theories of performance, embodiment, reinterpretation and popular culture

and is contextualised by examining commedia's tools, development and rapid widespread success throughout

Europe. Sound within the Commedia dell’arte was originally produced by body, voice and instruments. The

main instrument being the slapstick; two pieces of wood tied together by string. This instrument was and can

be employed by commedia players to create a shifting soundscape as the action unfolds before the audience.

The term slapstick is now called on to describe a complete genre of theatre, Slapstick comedy; a type of broad,

physical comedy involving embellished lively actions that generally surpass the boundaries of common sense.

But what of the audible effect it produces? By examining three short scenes from my creative artefact, ‘The

Marriage of Flavio and Isabella’ where the slapstick is used, we can begin to see the impact such a simple

instrument can have on the art form. Despite limited research in this area, the slapstick is an effective sound

tool that complements the notion that the ‘Commedia dell’arte is complete and total theatre’ (Fava 2004).

Sound, Noises and Local Identity

Phil van Hout (PhD Candidate), University of South Australia

This presentation develops a theoretical investigation into the properties of an audio field recording. It

develops an argument in favour of how localized sounds captured in a recording can enhance the content of a

multimedia production. These added sound images, it argues, contain embedded contextual information

about a location. The terminology used to expose this information in the recordings is defined through a

discussion structured around the concepts of field ecology developed by R. Murry Schafer in ‘The Soundscape’.

However, to take advantage of the multidisciplinary nature of this concept, the philosophical discourse

combines sound ecology with a phenomenon extrapolated from Roland Barthes text ‘Camera Lucida:

Reflections on Photography’. Here, the properties of ‘studium’ and ‘punctum’ that Bathes associates with the

photograph are adopted into those of Shafer’s, and used to explore elements in a sound recording that can

influence the physical and metaphorical contextual reception of an audio recording. In addition, the

combination of these concepts helps to expose some aspects of modernity still prevalent in many of the

elemental ideologies of audio production. Ultimately, it is hoped that through exposing some of the interesting

properties contained within this ‘sound stage’, a greater understanding and appreciation for a location

recording will be created.

Session 3: Creative Contexts of Music Composition

Sir Andrzej Panufnik; A Study of Musical Dislocation

Blake Parham (Masters Candidate), The University of Adelaide

Many composers have been forced, or have chosen to leave their homeland due to political pressures, and

begin a new life in a foreign country. This kind of migration was particularly prevalent during times of crisis. In

20th century Europe the cruelties of the World Wars, the Great Depression and the pressures of the Cold War

resulted in a large number of artists seeking refuge abroad in order to freely create. The literature regarding

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dislocation’s effect on composition is very lacking. The small amount of literature which does exist tends to

deal with the topic on a broad level. While this phenomenon is often observed in composers’ biographies little

attention is given to what effect this migration, and subsequently dislocation, may have had on their

compositional style. It was not uncommon that dislocated composers who were formerly acclaimed in their

homeland, found themselves lost in the new country - outsiders, whose music was in many cases

misunderstood or simply ignored. This presentation will explore how the phenomenon of dislocation affected

the life and music of Sir Andrzej Panufnik (1914-1991). The presentation will investigate the following: why did

Panufnik defect and what part did his music play in making this decision, how did his defection cause him to

become dislocated and what changes occurred in his music as a result of this dislocation?

Don Banks, a Pragmatic Modernist

James Koehne (PhD Candidate), The University of Adelaide

Don Banks is generally identified as a pioneer of Australian modernism, and this view informs the

interpretation of his career and place in Australia’s musical development. My presentation explores Banks’

compositional career during his years in London, to reveal another dimension to the composer’s musical

personality, one that is centred on his ‘pragmatic’ side. In the traditional casting of musical identity, modernist

composers seek to operate as autonomous agents, but Banks’ overwhelming sense of pragmatism meant that

he could never give himself up wholly to this paradigm. I show how Banks, in his work for commercial

purposes, applied an approach that complements that used for his works in ‘advanced’ style. In the example of

the commercial orchestral work Coney Island, pragmatism and serious purpose intertwine, the diverse facets

of Banks’ musical life at the time coming together to create a work that serves a range of practical ends in the

development of the composer’s musical competence. Richard Taruskin has asserted dramatically that the way

we tell the history of classical music is a ‘bare-faced pack of lies’. It may be that the way we tell the story of

Don Banks exemplifies another contribution to that pack. My paper considers the implications of a broader

view of the composer for our understanding of Banks’ music and judgment of his significance.

Musical Transculturation at the 11th Festival of Pacific Arts: A Creative Approach to the Sustainability of Tradition in Francophone Pacific Islands Geoffroy Colson (PhD Candidate), The University of Adelaide

As globalisation and climate change pose a threat to human societies in some parts of

Oceania, questions of the sustainability of the Pacific Islands musical culture might also be raised. It is possible

that processes of cultural revival and in some contexts the creative exploration of musical syntheses may be

viable responses to vulnerable traditions. This study undertakes a fresh approach to musical hybridity in works

by musicians from Francophone Pacific Islands participating in the 11th Festival of Pacific Arts at Honiara,

Solomon Islands, 1-15 July 2012. Methodologically, the study involved interviewing indigenous musicians from

French speaking areas - specifically, New Caledonia, Vanuatu, and French Polynesia, and recording these

musicians in performance. In-depth analysis of these recordings led to the classification of the various

processes involved in the musical syntheses in operation in the ensemble compositions and performances. The

information gathered during the interviews with the artists and directors allowed me to consider my analysis

from local creative points of view and to begin to develop of an approach to the sustainability of musical

traditions through creative composition and collaboration. Comparison with musical experiences in some

English-speaking areas brings into play further creative approaches and perspectives which might be applied to

Francophone areas. The results of the present study constitute a foundation for future creative musical

collaborations with Pacific Islander artists. It will lead to the performance and recording of new musical

compositions, through the application of a jazz-derived musical language and innovative tools such as

contemporary multimedia technologies.

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Percy Grainger and the New World of Concert Pianism in America (1914-1925)

Natalie Bellio (Masters Candidate), The University of Melbourne

Percy Grainger’s move to the United States of America in September 1914 was the beginning of a new and

very different stage in his performing career. Whilst under the management of the retired stage soprano

Antonia Sawyer, Grainger quickly became an established pianist within six months of his arrival in America.

Grainger’s hugely successful debut in February 1915 at Aeolian Hall in New York, signalled the start of a hectic

performing career across the country in a variety of venues and concert forums, a marked change to the

performing career he had experienced in England. There were evident changes in his choice of solo repertoire,

which included the performance of an increasing number of Grainger’s own piano works alongside that of his

associates and other contemporaries. Grainger also gained a degree of celebrity, as he frequently contributed

articles on his musical thoughts to American music journals and magazines, while his image appeared more

regularly in the press and advertisements. This paper examines Grainger’s performing career in America from

1914-1925. It will explore the social, historical and economic factors that underscored Grainger’s new

performance career, and the changes in repertoire that accompanied this transformation.

Session 4: Performance Practice

‘Unplayable’? Performance Issues in the Flute Music of Felix Werder

Melanie Waters (PhD Candidate), The University of Adelaide

The music of German-born composer Felix Werder (1922-2012) was not generally well-received throughout

the seven decades of his career in Australia, by both audiences and classical performers. His compositions

were described as ‘too avant garde’, ‘not music which begs to be liked’, and ‘unplayable’, and he claimed that

his music was performed more frequently in Germany than in Australia. This presentation will explore some of

the factors that may have contributed to the poor reception that Werder’s music received from Australian

classical performers, through investigating some the challenges faced by performers in interpreting his flute

music. It will comprise an exegetical discussion examining the performance challenges in selected flute works

by Werder and suggesting possible solutions to address those challenges, followed by the performance of two

of Werder’s works for solo bass flute, Mediodia 2 (1984) and Opening! (1987).

The Significance of the Curtal in Solo and Consort Music from 1550-1700: Repertoire, Technique and

Performing Practices

Jackie Hansen (PhD Candidate), The University of Sydney

This paper aims to demonstrate historically informed performance practices relevant to solo and consort

repertoire for the curtal; the modern day bassoon’s renaissance precursor. The majority of published

literature about the curtal concerns the historical development and physical traits of the instrument rather

than issues of performing practice. My research builds on this by comparing performing issues raised by

expert performers with general performing practice data elucidated in primary and secondary sources. There

is a lack of evidence concerning repertoire intended for the curtal due to the common practice by composers

of the time wherein instrumental nomenclature often remained unspecified in scores. Furthermore, written

accounts from this period do not clearly reveal historical performance practices for the curtal in this regard.

The curtal is one of the only musical instruments originally developed in the renaissance era that was regularly

utilized in its original form all the way to the early twentieth century. The curtal’s integral role in the church

life of Spain and Spanish colonies ensured its continued usage despite the parallel developments of the

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bassoon taking place throughout Europe, England, and America. Why was the bajón so successful in

developing an integral role in Spanish society and what characteristics of this instrument rendered it immune

to replacement by its bassoon successors throughout the baroque, classical, and romantic eras? The findings

from this paper will form a broad perspective of the historically informed practices currently applied in curtal

performance.

Can Conducting be Taught?

Luke Dollman (PhD Candidate), The University of Adelaide

Can the art of conducting be taught? The question is an old one and despite the proliferation of conducting

courses around the world in the second half of the twentieth century, the answer is in no way straightforward.

The principal aim of my research is to identify and analyse the most successful tertiary-level schools for

training conductors in the world in recent history. Successful schools in this case being defined as ones which

have consistently produced professional conductors over an extended period of time. It aims to assess the

extent to which conductors can be trained in a Tertiary Education setting and why certain schools have clearly

been more successful in this area than others. This has involved examining the practical, structural aspects of

different curriculums, but more importantly, exploring the philosophy behind the teaching methods used. It is

hoped that as a result of looking at a broad cross section of successful international schools with varying

pedagogical methods, a deeper understanding of what the key ingredients are for a successful conducting

course can be arrived at. Ultimately, the project aspires to give an answer to the age old question - Can

conducting be taught, and if so, how?

Session 5: Piano Performance Practice

A Generative Process for Learning and Memorising Tonal Piano Repertoire Elizabeth Foster (PhD Candidate), The University of Adelaide

Classically trained pianists can be concerned about the possibility of a lapse of memory during memorised

performance. If such an event does occur, insufficient understanding of the structure of the music and an

inability to play by ear or improvise may prevent them from being able to work their way back into a piece,

leading to the embarrassing situation of being unable to proceed with the performance. This paper presents

results of research undertaken to examine the effects of a four-stage process (simplification, transposition,

improvisation and rebuilding) developed by the author for learning and memorising tonal piano repertoire.

The process is designed to bring about improved structural understanding, develop aural and creative ability,

and build a knowledge base specific to the repertoire such that generation can be incorporated into the

process of learning and memorising the details of the composition. The author coached ten volunteer piano

students in applying the process to selected repertoire, after which they performed the repertoire from

memory in a recital. The paper concludes that the four-stage process offers benefits in memory security,

performance confidence, musical interpretation, expression and enjoyment, with greatest effect observed

where students applied the process most rigorously and where the theoretical background was adequate for

the chosen repertoire

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Music as History: 24 Preludes for Piano Op.34 (1932-33) by Dmitri Shostakovich

Debra Andreacchio (Masters Candidate), The University of Adelaide

Dmitri Shostakovich (1906 – 1975) lived during a time of extreme political turbulence concomitant with the

Russian Revolution that completely transformed the society around him. From December 1932, at the end of

the Cultural Revolution, he began to compose the Twenty-four Preludes Op.34, miniature in length, complete

in intention and intimate in character, intending them as a ‘series of psychological sketches’ . Through his

distinctive musical language along with his fantasy and his vast understanding of the expressive possibilities of

the piano, Shostakovich revealed his perspective of the emotional atmosphere that surrounded him. This

paper, supported by music performance, will explore the genre and style of six of the Preludes, (Nos.1, 2, 13,

14, 19 and 24). Using visual media, it will also demonstrate musical and non-musical influences within the

historical context and the pianistic representation of various moods, including Shostakovich’s well-known

preference for satire. Two key questions emerge with regard to the Preludes. First, what are the genre and

mood in each that underpin Shostakovich’s imaginative inner musical voice? Second, how can performance of

the Preludes convincingly convey the extremes of human tragedy and discord, satire and the grotesque that

are embedded within them? It is argued that detailed observation of Shostakovich’s manuscript and

immersion in the contemporary culture of this period can guide and inspire the performer to realize more fully

and pianistically, the character and human emotions permeating this score.

Carnal Musicology and Twentieth Century Piano Performance Practices

Alejandro A. Téllez-Vargas (PhD Candidate), The University of Melbourne

The use of early recordings has transformed the concept of “tradition”, as understood in the study of

instrumental performance practices. However, the study of specific performing styles based only on audio

recordings ignores the bodily sensations and kinesthetic representations intrinsic in music performance.

Thanks to the vast amount of video recordings produced by pianists throughout the twentieth century it is

possible to submit these kinesthetic representations to detailed analysis. This paper will adopt the

methodology of Carnal Musicology, a critical method developed by Elisabeth Le Guin, based on

contextualisation of the physical experiences of the performer, in order to analyze some of the canonical

recordings that shaped the pianistic performing style of the twentieth century. My “canonical recordings” are

taken from live studio recordings and appearances from pianists in commercial films. My analyses will focus on

what it is expressed with the body, and its emotional implications in piano performance. I shall examine the

element of embodiment in the complex relationship between performers and deceased composers, the

changing role of the visual aspects of modern pianism, and the constructivist postures that define the

performer’s physical codes of communication in terms of pianistic schools (e.g. Russian piano school, French

Piano School, among others).

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PRESENTERS

Debra Andreacchio is pursuing postgraduate research focused on the Twenty Four Preludes Op.34 of Dmitri Shostakovich. She has wide-ranging experience as a piano teacher in Special Music Schools and in her private studio, with her students winning numerous scholarships and special prizes. Using extensive visual-media, Debra has presented lecture demonstrations at Piano Pedagogy Conferences throughout Australia and at the 2012 World Piano Teachers’ Conference in Europe. She performed in the 2010 premiere of Larry Sitsky’s piano suite, ‘The Golden Dawn’ that contains a movement dedicated to her. Currently Debra is President of the Music Teachers’ Association of South Australia and on the Board of the Australasian Piano Pedagogy Conference Association. Since graduating, Debra has extended her studies with internationally acclaimed piano pedagogue, Eleonora Sivan. Natalie Bellio currently works as a piano teacher at numerous schools across Melbourne. She has recently gained a Bachelor of Music with Honours after having studied piano at Melba Conservatorium of Music and the Australian Catholic University, and is currently enrolled as a research student in the Master of Music (Research) at Melbourne Conservatorium of Music. Natalie has previously appeared as a soloist for the Grainger Wind Symphony and is currently undertaking a research project at the Grainger Museum documenting concert programmes. Natalie has also developed interests in Baroque performance practice playing harpsichord and also enjoys playing the music of Chopin, Rachmaninoff, Prokofiev and Grainger. Her current research interests include Renaissance and Baroque music history, the pianism and pedagogy of Percy Grainger, and Feminist Musicology. Geoffroy Colson is a French pianist, composer and music teacher. Mostly involved in Jazz and improvisation, he has performed as a freelance pianist since 1995. He has also created his own music studio, and has founded and managed several cultural projects in France and French Polynesia. His artistic approach has always been characterised by a personal research about musical fusion. After a period of time spent in French Polynesia in 2003-2004, very impressed by the Polynesian musical heritage, he decided to study the Polynesian music and started collaborations with Tahitian ensembles in France. In order to better conduct his work he recently settled in Australia. He currently undertakes a PhD by research at the Sydney Conservatorium of Music (University of Sydney), studying the sustainability of musical heritage in French speaking Pacific Islands, analysing the aesthetic and cultural issues of change and hybridity with a creative response. Corinna Di Niro is currently completing her PhD into the performance and pedagogy of Commedia dell'Arte in Australia. She has a passion for European theatre, theatre history, the Renaissance era and the development of theatre. After training with Antonio Fava in 2004, Corinna started her own commedia company in Adelaide; Commedia con Corinna and continues to perform and teach the art form across Australia. She now also tutors within the performing arts area for the University of South Australia. Luke Dollman has conducted leading orchestras and opera houses throughout Europe, Asia and Australia. In recent years he has become increasingly interested in teaching conducting and the problems that this endeavour presents, hence the existence of this project. He has taught as part of the Symphony Australia conducting program and has been a guest lecturer at institutions such as the Sibelius Academy in Helsinki and the Royal Scottish Academy of Music and Drama in the United Kingdom. Elizabeth Foster received her Bachelor of Music in Piano Performance concurrently with a Bachelor of Arts in Music from the University of Washington in Seattle in 1980. She taught piano in private studios in Seattle and Bainbridge Island, Washington, for 31 years before moving to Adelaide in 2010 to undertake the current research project. Peck Jin Gan received her Bachelor of Music Studies (First Class Honours) from The University of Adelaide in 2011. She is currently undertaking a Doctor of Philosophy in Ethnomusicology under the supervision of Associate Professor Kimi Coaldrake, Mr Steven Knopoff and Mr Stephen Whittington. She has been recently awarded with the Elder Conservatorium Prize for Excellence in Postgraduate Research in 2012. As Malaysian with Chinese ethnic background, she is aware of the importance of negotiating a Malaysian cultural identity within the Malaysian nation-building process. Her thesis, therefore, focuses on selected compositions of Malaysian contemporary composers as an expression of the Malaysian cultural identity.

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Jackie Hansen is originally from Sydney. She took up the bassoon at the age of thirteen, having previously learnt the piano and violin. She has performed with most of Australia’s major symphony orchestras including the Sydney, Queensland, Melbourne, and Tasmanian Symphony Orchestras, as well as the Australian Chamber Orchestra. As part of her busy schedule Jackie is completing a PhD at the Sydney Conservatorium of Music focusing on performance practice for historical bassoon. Jackie is currently the Principal Contrabassoonist of the Adelaide Symphony Orchestra. Clementine Hill is undertaking a PhD project within the School of Communication, International Studies and Languages at the University of South Australia. Her thesis examines the relationship between subcultures and the online world. Particular study interests include moral panic theory, subcultural studies and music. James Koehne is currently enrolled in a PhD at Adelaide University, on a part-time basis. He has had an extensive career in music administration in Canberra, Sydney and Melbourne before returning to Adelaide where he was Director of Artistic Planning for the Adelaide Symphony Orchestra. Paul Oldham is a PhD candidate at the University of South Australia. He has been an active member of the SA rock community for 20 years, as a touring rock musician, DJ, activist and live entertainment booker where he is better known under his nickname ‘Nazz’. He has also been a prominent SA music journalist for 16 years. Kosta Pandos studied at Immanuel College. Since completing College and attended The Elder Conservatorium of Music, The University of Adelaide. He graduated with a Bachelor of Music Studies and this year, completing his Honours. He majored in the performance of Alto Saxophone and is now pursuing the field of ethnomusicology. Blake Parham is currently undertaking his Masters degree in Music at the University of Adelaide researching Polish composer Sir Andrzej Panufnik. He has presented papers at the University of Adelaide (2011-2012), the Spaces of (Dis)location conference at the University of Glasgow (2012), the annual music lecture at the Perth Cathedral (Scotland, 2011) and will present a paper at the Lithuanian Composers Union, Links between Music and Visual Arts Conference in October (Vilnus, 2012). Additionally during June-September of 2012, at the invitation of Lady Camilla Panufnik, Blake has been working on the revitalisation of the Panufnik Archives in London. Blake is also a classical vocalist, and is currently undertaking vocal studies in Germany, Scotland and Poland with the support of the George Boland Vocal Scholarship. Phil van Hout has a fascination for the innovative and an attraction for the differentness that only occasionally rears its head through the all too stencilized surroundings of life. Music and sound he feels are in trouble of being trapped inside of today’s audio reproduction that so often gets lost in obscurity of expensive equipment and corporate ideals for mass consumption. The reality of years of studying sound and communications has now resulted in working on radio both as an announcer and sound recordist for live performance. Much of the work outside of studying for Doctor of Philosophy has revolved around a compelling attraction to record and mix sound. This has included sound design for both feature and short films (Justice Squad, Ouroboros, Event Zero, the Tunnell, 2011); live radio broadcasts for Radio Adelaide and for festivals such as the Fringe and Womad; sound engineering theatre productions and a variety of performance in Adelaide, Sydney and London. Alejandro A. Téllez-Vargas is a PhD student in The University of Melbourne, and an Endeavour Postgraduate Award Holder (2012). Raised in Mexico City, he was awarded in 2008 with the Fulbright Fellowship for International Postgraduate Studies in the United States of America, where he earned a Master’s Degree in Music with a related field in “Music and Medicine” from The University of North Texas (UNT). Natalie Texler is an Honours Student at UniSA. Her thesis details a performance analysis of Tim Minchin's Storm through the examination of signs systems present in text, performance and music. She is also a theatre maker, sound designer, published poet and scriptwriter. Melanie Walters is a flautist and PhD (music performance) candidate at the University of Adelaide. She completed her undergraduate studies at the University of Sydney, and completed a Master of Music degree at the University of Adelaide in Modernism and Postmodernism in late twentieth century Australian flute music. Her PhD is on the flute music of German-Australian composer Felix Werder.

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SESSION CHAIRS Associate Professor Michael Halliwell has studied music and literature in South Africa, at the London Opera Centre, and with Tito Gobbi in Florence. He was principal baritone with the Netherlands Opera; Hamburg State Opera; Nürnberg Opera, singing over 50 major roles in leading European opera houses and working with many prominent conductors and directors. He was involved in several world premiere opera performances and in many festivals. He also recorded and appeared extensively on television. More recently, he has presented masterclasses and concerts in Singapore, Kuala Lumpur, Hong Kong, Taipei, London and Cape Town. He has also made several recent recordings including a CD of Kipling settings, Soldier, Soldier, with David Miller (Artworks), and songs of the Boer War, When the Empire Calls (ABC Classics). In recent years he has premiered several song cycles by Lawrence Kramer. Halliwell’s PhD was the study of the adaptation of fiction into contemporary opera. He has served in several senior positions at the Conservatorium including chair of Vocal and Opera Studies, Associate Dean (Research)and Pro-Dean and Head of School. He has presented papers on music and literature at many international conferences in Australia, South Africa, the United States, Canada, Britain, Germany and Austria, including a recent series of lectures on Shakespeare and Opera at Cambridge University. He is Vice President and editorial board member of the International Association of Word and Music Studies. His book Opera and the Novel: The Case of Henry James (Rodopi), was published in 2005. Dr Daniela Kaleva is a musicologist and voice specialist, currently teaching music at the University of South Australia. She studied classical voice with Dame Joan Hammond and Merlyn Quaife at the University of Melbourne, and completed her doctoral dissertation on analytical methodology for melodrama technique (combined spoken text, music, acting and visual effects) under the supervision of the late Emeritus Professor Andrew D. McCredie and Associate Professor Craig De Wilde at Monash University. Daniela’s research focuses on multidisciplinary approaches to music research, performance analysis and performance-based research. She has published in journals such as Musicology Australia, in the edited book of essays Music Research: New Directions for a New Century and has authored a monograph titled Melodrama Technique: The Melodrama Writing of Ludwig van Beethoven. The work of Australian music publisher Louise Hanson-Dyer is another focus of Daniela’s research. Daniela is an Associate Member of the Hawke Research Institute and Secretary of the Musicological Society, South Australian Chapter. Steven Knopoff is an ethnomusicologist and composer with wide musical interests, including Australian Aboriginal music and dance, music analysis, cross-cultural music practices, popular music, and the influence of technology upon musical aesthetics and performance practice. The primary focus of his research and publication has been the ceremonial songs and performance of the Yolngu people of Northeast Arnhem Land. Knopoff is Lecturer and Head of Musicology at the Elder Conservatorium of Music. He is the President of the Musicological Society of Australia/South Australian Chapter and an MSA National Past President. Associate Professor Nicholas Routley was Associate Professor in Music at the University of Sydney until his retirement in 2007 currently an Honorary Research Fellow at the University of Sydney, and is a pianist and conductor. His doctoral thesis at the University of Cambridge was in musical analysis, and he has published on various subjects including musica ficta, the time signature ø, Monteverdi's Lamento d'Arianna, 18th century opera, Debussy and in collaboration with Rowena Braddock, Louis Andriessen’s opera Writing to Vermeer. He has a particular interest in recent Australian music, having commissioned over a dozen pieces, and since 1996 has contributed to it as a composer, having written several vocal works, a symphony, and the symphonic poem “Icarus” and a guitar concerto. He is the founder director of the Sydney Chamber Choir. Dr Paul Watt’s research interests include 19th-century music, British music and musical biography. His publications include Bawdy Songbooks of the Romantic Period (2011, edited with Patrick Spedding) and articles and book chapters, published and forthcoming, on a range of topics from 19th-century biographical method to early twentieth-century ideas of nationalism. Paul is Editor of the Royal Musical Association Research Chronicle and Musicology Australia. He is also a member of the Editorial Board of the Journal of the Royal Musical Association and in an editorial adviser to the ‘Cambridge Library Collection’ published by Cambridge University Press. He is currently working on five projects: a book on the musical criticism of Ernest Newman; an edited book on the music of Josef Holbrooke; an article on the nineteenth-century French literary theoriest, Emile Hennequin; an article on the musical life of Alexandra Palance (London) in the late nineteenth century, and a chapter on opera criticism for the Oxford Handbook of Opera.

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