Our members

  • Dr Joanna Bullivant

    Joanna Bullivant

    Joanna Bullivant is Honorary Adjunct Lecturer at the Elder Conservatorium of Music, The University of Adelaide, and Lecturer at Magdalen College, University of Oxford, having previously worked at the University of Oxford, the University of Nottingham, and King’s College London. Jo’s research centres on nineteenth- and twentieth-century British music, particularly musical and cultural histories of minority groups. She has published widely on British modernism, cultural politics, and increasingly on British music and religion. Her first monograph, Alan Bush, Modern Music and the Cold War: The Cultural Left in Britain and the Communist Bloc was published by Cambridge University Press in 2017. This was based on a decade of research into the musical culture of British communism and its relationship to wider British and communist politics and culture.

    More recently, Jo has been engaged in studying digital methods of understanding composer’s compositional processes and disseminating that knowledge to wider audiences. She pursued this in several projects at Oxford University, including the AHRC-funded Delius, Modernism, and the Sound of Place (2015–16), Digital Delius (2017–18), The Dream of Gerontius: Curating Catholic Music Digitally (2019–21) and Diversity and the British String Quartet (2020). Through these activities Jo created the Delius Catalogue of Works, which won the British Library Labs Research Award in 2018. She has also curated and written content on Delius and Elgar for the British Library’s flagship digital music resource Discovering Music, and collaborated with the British Library, the National Trust, and the US National Institute for Newman Studies (NINS) on a project digitising and interpreting the original manuscript of Elgar’s The Dream of Gerontius. Following a Visiting Fellowship at NINS, she is now embarking on a second monograph project entitled Elgar and the Catholic Imagination.

  • Associate Professor Waldo Garrido

    Associate Professor Waldo Garrido

    Dr Garrido was a founding member of the Australian jazz band The Catholics. He was signed to Warner Chappell Music for 16 years. He is a world renown bassist, composer, singer, and producer who has worked with various pop, Latin and jazz bands and musicians such as The Party Boys, Floyd Vincent, Disco Montego, Delta Goodrem, Swoop, Anthony Copping and Robin Loau. Dr Garrido has produced various solo albums (Dejame Tocarte, a South American release through Sony and Loco Festival/Mushroom records). 

    Dr Garrido has had two radio hits in his native Chile, Muerdeme la Lengua and Dejame Tocarte. His song Fiesta Latina picked at number 12 in the Aria Club Charts in Australia. Dr Garrido has writing film scores including Random 8, winner of a Bronze Palm in the Feature Narrative section of Mexico International Film Festival. Dr Garrido has written songs for various films including, Strange Planet, Deja Hacer la Historia and Submerge. Dr Garrido has published an academic book entitled Música de Chiloé: Folklore, Syncretism, and Cultural Development in a Chilean Aquapelago (Lexington Books). Dr Garrido is currently signed to a worldwide publishing contract with BMG. He is also a member of Centre for Elite Performance, Expertise and Training at Macquarie University. Dr Garrido was an adjunct fellow in psychology at Macquarie University. Dr Garrido has a worldwide distribution contract with HIGHRESAUDIO (Berlin). 

    Dr Garrido has worked with some of Australia’s top producers and engineers including Peter Dawkins (Dragon, Australian Crawl), David Hemming (Jessica Mauboy, Crocodile Dundee II). Recently, Dr Garrido has been working in Germany producing three projects, a Latin album, a jazz album, and an album with some of Berlin’s top Oriental and German musicians. Dr Garrido’s new studio project Viaje a Chiloe, was mixed in Berlin by Frank Kerestedjian (Ganggajang, Voice of Germany). Dr Garrido published a book for Routledge, Performing Popular Music with associate professor David Cashman in 2020.

    Currently Dr Garrido is completing a new jazz album with Grammy Award winners Alex Acuna (Weather Report), Randy Brecker and Frank Gambale. This project includes Jorge Vera (Billy Cobham), Cristian Mendoza (Willy Colon) and Grammy Award nominee Benito Gonzalez (Kenny Garret, Pharaoh Sanders). 7-time Grammy award winner producer/engineer Mauricio Guerrero in Los Angeles USA will mix this album. Dr Garrido working with Berlin based Syrian oud player Nabil Arbaain, from the Arabic Music Institute Berlin.

    Dr Garrido is producing an album that mixes jazz with electronic music, the first remix out of this project Viva la Vida reached the number 4 spot internationally in the Latinhouse Traxsource charts. Dr Garrido is also working with award winning electronic drummer Cliff Hewitt (Apollo 440, Pet Shop Boys, Schiller). Dr Garrido singed a contract with Lexington Books to publish his new book on refugee musicians in 2024.

  • Professor Anna Goldsworthy

    Anna Goldsworthy

    Described by the Melbourne Recital Centre as ‘one of Australia’s greatest musical story-tellers,’ Anna Goldsworthy is an award-winning pianist and writer. She is the Director of the J.M. Coetzee Centre of Creative Practice, University of Adelaide; Kenneth Moore Memorial Scholar at Janet Clarke Hall; and an Associate Professor at the Elder Conservatorium of Music. 

    In 2021, Anna Goldsworthy, and her team was awarded a grant by the Australian Research Council to undertake research to find new ways of tackling the challenges facing the Australian performing arts sector in the wake of the COVID-19 pandemic and climate change emergency. In Rebooting the Muse: Post-COVID-19 sustainability in the performing arts, they will explore how digital technologies can offer new audience experiences and will document the impact on artist and community wellbeing of these innovations. Project participants include the Adelaide Symphony Orchestra, the State Theatre Company, Patch Theatre Company, the Light Cultural Foundation and the Illuminate Adelaide Foundation. The project will help to find more sustainable business models and consequently improve individual and community wellbeing.

    In 2022, Anna presents her music theatre work After Kreutzer at the Adelaide Festival; performs extensively around Australia and New Zealand, with Seraphim Trio, violinists Andrew Haveron and Kristian Winther, pianist Konstantin Shamray, and soprano Lorina Gore; and appears as concerto soloist with the Adelaide Symphony Orchestra. In 2022, she directs the Coriole Music Festival, and the Hayllar Music and Mountains Festival in Queenstown, New Zealand, and is co-curator of the Adelaide Symphony Orchestra’s ‘She Speaks’ festival with Anne Cawrse, and the PianoLab festival with Anne Wiberg. She is librettist for the new opera, A Christmas Carol, composed by Graham Koehne for Victorian Opera, to be premiered in December.

    View researcher profile



    • Anna Goldsworthy. 2020. Melting Moments, Melbourne: Black Inc (230 pages).
    • Anna Goldsworthy and Mark Carroll (eds.). 2020. Beyond the Stage: Creative Australian stories from the Great War, Adelaide: Wakefield Press (176 pages).  
    • Anna Goldsworthy (ed.). 2017. The Best Australian Essays 2017, Melbourne: Black Inc (336 pages).
    • Anna Goldsworthy. 2013. Welcome to Your New Life, Melbourne: Black Inc (224 pages.) ; Noida: HarperCollins, 2013.
    • Anna Goldsworthy. 2013. Quarterly Essay 50 Unfinished Business, Melbourne: Black Inc ( 126 pages).
    • Anna Goldsworthy. 2009. Piano Lessons, Melbourne: Black Inc (240 pages); New York: Macmillan, 2009; Seoul: Anima Publishing, 2010; Munich: Verlag Urachhaus, 2018; Hanoi: Women’s Publishing House, 2018.

    Book Chapters

    • Anna Goldsworthy. 2021. ‘Piano Lessons’ [memoir] in Growing up in Australia (Melbourne: Black Inc), 31–41.
    • Anna Goldsworthy. 2021. ‘Whipping Up a Storm—Composing Batavia: An Interview with Richard Mills’ in Madeline Roycroft (ed.), Take Note: Interviews with Australian Composers (Melbourne: Lyrebird Press), 61–71.
    • Anna Goldsworthy. 2017. ‘The Palais’ [short fiction] in Julianne Schultz and Patrick Allington (eds.), Griffith Review 55: State of Hope (Brisbane: Griffith Review), 113–123.     
    • Anna Goldsworthy. 2015. ‘To Something I’ve Lost,’ in Marieke Hardy and Michaela McGuide (eds.), From the Heart: a Collection from Women of Letters (Melbourne: Penguin), 352–356.
    • Anna Goldsworthy. 2014. ‘A Letter to My Other Half,’ in Marieke Hardy and Michaela McGuide (eds.), Between Us (Melbourne: Penguin), 107–116.
    • Anna Goldsworthy. 2013. ‘Vale Christopher Pearson’, in Robert Manne (ed.), Best Australian Essays 2013 (Melbourne: Black Inc).
    • Anna Goldsworthy. 2011. ‘Like Love in a Marriage’, in The Best Australian Essays: a Ten–Year Collection (Melbourne: Black Inc), 252–264.
    • Anna Goldsworthy. 2009. ‘Grande Polonaise’, in Robyn Davidson (ed.), Best Australian Essays 2009 (Melbourne: Black Inc), 241–249.
    • Anna Goldsworthy. 2008. ‘Postcards’, in David Marr (ed.), Best Australian Essays 2008 (Melbourne: Black Inc), 187–199.

    Works for the Stage

    • 2022: LIBRETTO: Anna Goldsworthy, A Christmas Carol. Adapted from Charles Dickens, with music by Graeme Koehne. Commissioned by the Victorian Opera for premiere in December 2022.
    • 2021: SCRIPT (music theatre work): Anna Goldsworthy, Beethoven and Bridgetower. Commissioned by the Australian Chamber Orchestra, in collaboration with Rita Dove and the Belvoir St. Theatre, premiered March 2021.
    • 2021: SCRIPT (music theatre work): Anna Goldsworthy, After Kreutzer. Premiered at the Melbourne Recital Centre 2011, with sold-out season at the Adelaide Festival, 2022. Performed by Anna Goldsworthy and Andrew Haveron.
    • 2015: CABARET SHOW: Anna Goldsworthy, Cole. Original libretto for cabaret show, commissioned by Barry Humphries for the Adelaide Cabaret Festival for Michael Griffiths, for which he won a Helpmann Award.
    • 2013: LIBRETTO: Anna Goldsworthy, The Magic Pudding, Adapted from Norman Lindsay, with music by Calvin Bowman. Commissioned and performed by Victorian Opera, and nominated for three Green Rooms. Remounted in 2017 for Melbourne and Victorian tour.
    • 2011:  STAGE PLAY: Anna Goldsworthy, Piano Lessons, Commissioned by Deborah Conway for the Queensland Music Festival. Premiered Queensland Music Festival, restaged in 2013, and again for a national tour in 2017.
    • 2009: STAGE PLAY: Anna Goldsworthy and Peter Goldsworthy, Maestro. Commissioned and premiered by the State Theatre Company of South Australia.

    CD recordings

    • 2019. Thirteen Ways to Look at Birds (with Paul Kelly; James Ledger; Alice Keath and Seraphim Trio). Sydney: Decca. 2019 ARIA (Australian Recording Industry Association) Award for Best Classical Album.
    • 2019: The Trio Through Time (with Seraphim Trio). Sydney: ABC Classics, 2019 (5 CD set).
    • 2015: Beethoven Trios (with Seraphim Trio), ABC Classics.
    • 2016: Piano Lessons [audio book], Bolinda.
    • 2012: Trout (with Seraphim Trio), ABC Classics.
    • 2011: The Classical Trio (with Seraphim Trio).
    • 2010: Piano Lessons (piano solo), ABC Classics.
    • 2010: Carnival of the Animals (with Adelaide Symphony Orchestra), ABC Classics.
    • 2008: Come With Us: Travels with a Piano (piano solo), ABC Classics.
    • 2008: The Mendelssohn Siblings (with Seraphim Trio).
    • 2003: AMEB Piano: Series 15 (with Caroline Almonte and Mark Kruger).

    Essays and Reviews

    Numerous essays and reviews on subjects including music, literature, film and television, politics, and feminism, featured in The Monthly, The Australian Book Review, The Australian Literary Review, The Australian, The Age, The Adelaide Review. Selected recent examples include:

    • Anna Goldsworthy. 2022. ‘Roosting’ [personal essay], The Monthly (Feb 2022). 
    • Anna Goldsworthy. 2021. ‘The Glass Curtain.’ The Monthly (Dec-Jan 2021). 
    • 4000 word essay examining position of women in classical music.
    • Anna Goldsworthy. 2020. 'What are the odds?: Toby Ord's "The Precipice." The Monthly (August 2020).
    • Anna Goldsworthy. 2020. ‘Fermata: Music in the Time of Coronavirus.’ The Monthly (July 2020). 
    • 4000 word essay examining sustainability in classical music, and considering future options.
    • Anna Goldsworthy. 2020. ‘He is Risen’ [personal essay], The Monthly (May 2020).
    • Anna Goldsworthy. 2020. ‘First Person’ [personal essay], Sunday Life (May 2020).
    • Anna Goldsworthy. 2015. ‘The Lost Art of Listening: Has Classical Music Become Irrelevant?’ The Monthly (October 2015)
    • 5000 word essay for The Monthly, circulated internationally through outlets such as Arts and Letters Daily, and Norman Lebrecht’s ‘Critical Mass’.
  • Professor Peter Tregear

    A graduate of the Melbourne Conservatorium of Music (where he is a Principal Fellow), Peter subsequently undertook doctoral studies at King’s College, Cambridge, and was then appointed Lecturer and Director of Music at Fitzwilliam College. After returning to Australia he served as Executive Director of the Academy of Performing Arts at Monash University and, from 2012–2015, Professor and Head of the ANU School of Music in Canberra. In 2020 he was appointed the inaugural Director of Little Hall at the University of Melbourne and was also awarded a Medal (OAM) of the Order of Australia for services to music education. Peter has published widely in both the academic press and the mainstream media. His scholarly and performing work centres on early twentieth century Australian and European musical culture, especially opera, and on composers whose careers and lives were ruined by the rise of Nazi Germany. Peter also holds an Adjunct Professorship at the University of Adelaide. 



    Fritz Bennicke Hart: English Musical Romanticism and the Ends of Empire (co-authored with Anne-Marie Forbes). Under contract (Lyrebird Press, due early 2022).

    Rethinking Contemporary Musicology: The Limits of Interdisciplinarity and the Dangers of Deskilling. (edited volume of essays, co-edited with Ian Pace).  Under contract (Routledge, due mid 2022).

    Enlightenment or Entitlement: Rethinking Tertiary Music Education. Platform Paper No 38. (Sydney: Currency House, 2014).

    Ernst Krenek and the Politics of Musical Style (Maryland: Scarecrow Press, 2013).

    The Conservatorium of Music University of Melbourne: An Historical Essay to Mark its Centenary (Melbourne: Faculty of Music, 1997

    Book Chapters

    ‘Moodie and Krenek: Challenging Ernst’s Ernestness’ in Kay Dreyfus (ed), The Fractured Self: Selected German Letters of the Australia-Born Violinist Alma Moodie, 1918–1943), trans. Diana K. Weekes (Oxford: Peter Lang, 2021, 483–486.

    ‘Beethoven, Viena y el Trienio Liberal’ in Teresa Cascud & García-Villaraco (eds), Un Beethoven Ibérico: Dos Siglos de Transferencia Cultural (Granada: Comares Música, 2021), 17–30 (with Michael Christoforidis)

    Universities and Conservatoires’, in Michael Allis, Sarah Collins and Paul Watt (eds), The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century (New York: Oxford University Press, 2020), 271–292.

     ‘The Key to Timelessness: Some Reflections on the Australian Reception of the B minor Mass’, in Denis Collins, Kerry Murphy & Samantha Owens (eds), J.S. Bach in Australia: Studies in Reception and Performance (Melbourne: Lyrebird Press, 2018), 89–100.

    ‘Giving Voice to “The Painfulness of Human Life”: Grainger’s Folk Song Settings and Musical Irony’, in Kay Dreyfus and Suzanne Robinson (eds), Grainger the Modernist (London: Ashgate, 2015), 93–105.

    ‘Leaping over Shadows: Ernst Krenek and Post-War Vienna’, in Trudi Tate & Kate Allum Kennedy (eds), The Silent Morning: Memory, Culture and the Armistice November 1918 (Manchester: Manchester University Press, 2013), 182–199.

    ‘Marshall Hall as Australian Composer’ in Suzanne Robinson & Therese Radic (eds), The Marshall-Hall Era: Music, Art and Controversy in Federation Melbourne (Melbourne: Australian Scholarly Press, 2012)199–207.

    ‘Schoenberg, Satire and the Zeitoper’, in Joseph Auner & Jennifer Shaw (eds), The Cambridge Companion to Schoenberg (Cambridge: Cambridge University Press, 2010)147–156.

    ‘Edward Said and Theodor Adorno: The Intellectual as Musician’, in Edward Said: Legacy of a Public Intellectual (Melbourne: Melbourne University Press, 2007), 203–220.

    ‘For alle Menschen?: Classical Music and Remembrance after 9/11’, Music in the Post-9/11 World, ed. J. Martin Daughtry & Jonathan Ritter (New York: Routledge, 2007), pp. 204–216.

     ‘European Sounds, Australia Echoes: The Music of Marshall-Hall, Hill, and Hart’, in The Soundscapes of Australia: Music, Place And Spirituality, ed. Fiona Richards (London: Ashgate, 2007), pp. 185–198.

    ‘Revolution in der Oper: “Die Zwingburg” und “Der Sprung über den Schatten” ’, Der zauberhafte, aber schwierige Beruf des Opernschreibens. Das Musiktheater Ernst Kreneks (Vienna: Argus, 2006), pp. 31-39.

    ‘Stadtluft macht frei: Urban Sounds and Weimar Opera’, Music, Theatre and Politics in Germany 1848–1933, ed. Nikolaus Bacht (London: Ashgate, 2006)pp. 237–254.

    ‘The Centenary of the “Con”: An Introduction’ Aflame with Music: 100 years of Music at the University of Melbourne (Melbourne: Centre for Studies in Australian Music, 1996), pp. 3–10.

    ‘The Songs of Fritz Bennicke Hart’, One Hand on the Manuscript: Music in Australian Cultural History 1930-1960 (Canberra: Australian National University Press, 1995), pp. 55–64.

    Refereed Articles

    ‘“The Art of Agony”: Aspects of Negativity in Grainger’s Music’, Nineteenth-Century Music Review 15/2 (2018), pp. 27–41. Reprinted in The Grainger Journal 17/1 (2021), pp 5–21.

    ‘Conservatoires in society: Institutional challenges and possibilities for change’Arts & Humanities in Higher Education, 15/3–4 (2016), pp. 276–292 (with Geir JohansenHarald JørgensenJohn SlobodaHelena Tulve and Richard Wistreich).

    ‘Post-Colonial Tristesse: Aspects of Wagner Down Under’, Context 39 (2014), pp. 69-77.

    ‘“Nostalgia is not what it used to be”: Percy Grainger and the Aesthetics of Kitsch’, Grainger Studies, 1 (2011), pp. 97–113.

    ‘The Ninth after 9/11’, Beethoven Forum, 10/2 (2003)pp. 221–232.

    ‘Musical Style and Political Allegory in Krenek's Karl V’, Cambridge Opera Journal, 13 (1999), pp.  55–88.

    ‘Fritz Hart and the ‘Celtic Twilight’ in Australia’, The Literary Review, 45 (2001), pp. 173–179.

    ‘Sounding Fascism: T. W. Adorno and the Political Susceptibility of Music’, Renaissance and Modern Studies, 42 (1999), pp. 36–48.

    ‘Der Übergang in Kreneks Musik von “Jonny” zu “Karl V”’, Österreichische Musikzeitschrift, 55/8-9 (2000), pp. 21–24.

    Critical & Performing Editions

    Anna Amalia, Erwin und Elmire: Schauspiel mit Gesang nach einem Text von Johann Wolfgang von Goethe

    [Sound Research of Women Composers: Music of the Classical Period]. (Kassel: Furore Verlag, 2011), 158 pp, ISMN 979 0 50012 383. Also Vocal Score: 189 pp, ISMN 979 0 50012 464 1.

    Two song cycles by Fritz Hart, Musica Australia, vol. 1. (Melbourne: Marshall-Hall Trust, 1996), 40 pp.

    Conference Proceedings

    Edwards, A. J., Garbe, U., Salvemini, F., Edwards-McKeown, C. F., Close, J. & Tregear, P. ‘Using neutron tomography to examine guitar strings.’ Acta Crystallographica. A73, C1347 (2017).

    ‘Compositional Technique as Political Allegory in Krenek’s Early 12-tone Works’, in Michael Hass (ed), Musik und Widerstand, Wiener Jahrbuch für jüdische Geschichte, Kultur & Museumswesen, 8 (2008), pp. 100–111.

    Book Reviews

    Gwilym Croucher & James Waghorne Australian Universities: A history of common cause (Sydney: UNSW Press, 2019), Australian Book Review (March 2021).

    Jeremy Dibble & Julian Horton (eds), British Music Criticism and Intellectual Thought 1850–1950 (London: Boydell Press, 2019), Australian Book Review Online (September 2019),

    Michael Halliwell, National Identity in Contemporary Australian Opera: Myths reconsidered' (London: Routledge, 2018), Australian Book Review Online (November 2018),

    Alexander Knapp & Norman Solomon (eds), Ernest Bloch Studies (Cambridge: Cambridge University Press, 2017). Music and Letters, 99 (2018), pp. 136–138.

    Rhoderick McNeill, The Australian Symphony from Federation to 1960 (Ashgate: Farnham, 2014). Music and Letters 96/3 (2015), 489-491.

    B.A. Follmi, N Grosch & M Schneider (eds), Music and the Construction of National Identities in the 19th Century (Baden-Baden & Bouxwiller: Editions Valentin Koerner, 2010). Musicology Australia 36 (2014), 166–169.

    Pamela Karantonis & Dylan Robinson (eds), Opera Indigene: Re/presenting First Nations and Indigenous Cultures (London: Ashgate, 2011). Musicology Australia 36 (2014), 175–178.


    Joseph P Fisher & Brian Flota (eds), The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror  (London: Ashgate, 2011). Music and Letters 94 (2013), pp. 550–552.

    Erik Levi and Florian Scheding (eds), Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond (Maryland: Scarecrow, 2010). Music and Letters 94 (2013), pp. 552–554.

    Penelope Thwaites (ed.), The New Percy Grainger Companion. Woodbridge: The Boydell Press, 2010). Musicology Australia, 33 (2011), 146–48.

    Michael P. Steinberg, Listening to Reason: Culture, Subjectivity and Nineteenth-Century Music (Princeton: Princeton University Press, 2004). Music and Letters 90 (2009), 294–95.

    Charles Youmans, Richard Strauss’s Orchestral Music and the German Intellectual tradition: the Philosophical Roots of Musical Modernism(Bloomington: Indiana University Press, 2005). Music and Letters 89 (2008), 441–444.

    Esbjörn Nyström, Libretto im Progress: Brechts und Weills Aufstieg und Fall der Stadt Mahagonny, Arbetin zur Editionswissenschaft 6, ed. Winfried Woesler (Bern: Peter Lang, 2005). Music and Letters 89 (2008), 440–441.

    Roger Hillman, Unsettling Scores: German Film, Music, and Ideology (Bloomington: Indiana University Press, 2005). Musicology Australia 28 (2005–6), pp. 139–42.

    Theodor W. Adorno Essays on Music, trans. Susan H. Gillespie (Berkeley: University of California Press, 2002). Journal of European Studies, 33 (2003), pp. 355–357.

    Therese Radic, G. W. L. Marshall-Hall: A Biography and Catalogue (Melbourne: Centre for Studies in Australian Music, 2002). Context 23 (2002), pp, 79–81.

    John Bird, Percy Grainger, 3rd ed. (London: Oxford, 1999). The Times Literary Supplement, 5027 (1999), 32.

    David Symons, The Music of Margaret Sutherland (Sydney: Currency Press, 1995). Musicology Australia 21 (1998), pp. 84-5.

    Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London, Verso, 1994). Musicology Australia 19 (1996), pp. 88–9.

    Gyger, Alison. Opera for the Antipodes: Opera in Australia, 1881-1939 (Paddington: Currency Press, 1990),  Centre for Studies in Australian Music Newsletter, 1 (1995), pp. 2–3.

    Other Publications

    ‘The Grainger Trap’, Australian Book Review, 24 February 2022,

    ‘2 out of 3 members of university governing bodies have no professional expertise in the sector. There’s the making of a crisis’, The Conversation, 30 November 2021. [co-authored]

    ‘The pandemic is not an excuse to kill off the arts and humanities’, Times Higher Education, 9 October 2020,

    ‘Programming is not the problem’, Limelight, August 2021, 12–14,

    ‘Decoding the music masterpieces: how Carmina Burana, based on Benedictine poems, travelled from Bavaria to a beer ad,’ The Conversation, 20 May 2021

    ‘Book review: Open Minds explores how academic freedom and the public university are at risk’, The Conversation, 11 March 2021,

    'Monash University plans to cut its musicology subjects. Why does this matter?’, The Conversation, 1 October 2020,

    ‘As COVID wreaks havoc in the performing arts, do we still need a national opera company?’, The Conversation, 8 September 2020,

    ‘In defence of lost chords: Classical music’s struggle for relevance and survival’, Australian Book Review, 424 (September 2020), pp. 3–5;

    ‘What is the place of the performing arts fair in the age of the internet?’, The Conversation, 6 February 2020,

    ‘Yo-Yo Ma review: Cellist creates joyful communion with Indigenous culture, The Age, 9 November 2019.

    ‘The Selfish Giant (Victorian Opera)’, Australian Book Review, 19 October 2019,

    ‘Melbourne’ (major update of original entry by Andrew D. McCredie), Musik in Geschichte und Gegenwart, May 2019.

    ‘A Night at the Opera: Art Comes Alive in a Modern Twist on Rossini’s Il Viaggio a Reims’The Conversation, 27 May 2019,

    ‘West Side Story (Opera Australia)’, Australian Book Review, 12 April 2019,

    ‘Missing in Action—A Vision for the Arts in the 2019 Budget’, The Conversation, 3 April 2019,

    ‘Friday Essay: Identity Politics and the Case for Shared Values’, The Conversation, 21 December 2018,

    ‘The Major Performing Arts Framework and the Culture of Cultural Funding’, NITRO, 30 November 2018, ‘

    ‘A knowing, modern yet mythic production of one of Hitler’s favourite operas’, The Conversation, 15 November 2018,

    ‘Decoding the Music Masterpieces: Rossini’s opera, Otello’, The Conversation, 22 October 2018,

    ‘Evita (Opera Australia)’, Australian Book Review, 19 September 2018,

    ‘Strange Times for Artistic Practice’, Australian Book Review, 6 August 2018, Republished in the Australian Financial Review, 31 August 2018 as ‘Why it doesn't matter if West Side Story is whitewashed’,

    ‘With support for arts funding declining, Australia must get better at valuing culture’, The Conversation, 1 May 2018,

    ‘Babylon Berlin and why our fascination with 1920s Germany reveals the anxieties of ‘our times’, The Conversation, 3 April 2018,

    ‘Federal budget 2016: arts experts react’, The Conversation, 4 May 2016,

    ‘The Story of Silent Night’, The Conversation, 23 December 2015,

    ‘Italy’s Creative Approach to Counterterrorism’, The Epoch Times, 9 December 2015,

    ‘Musical literacy: a skill of some note(s)’, The Conversation, 3 November 2015,

    ‘Opera, sexual violence, and the art of telling terrible tales’, The Conversation, 6 July 2015.

    ‘Is it time for Madame Butterfly to flutter by?’, The Conversation, 6 May 2015.

    ‘Classical music and abuse cultures: we need to act now’, The Conversation, 18 March 2015.

    ‘Immortal Satisfaction’, Canberra Times (Panorama), 29 November 2014, p. 15.

    ‘ABC’s Classic FM faces cuts: it’s time to change the tune’, The Conversation, 24 November 2014.

    ‘Long players: secrets of the Rolling Stones longevity’, The Conversation, 11 November 2014.

    ‘Heritage performing arts and the case for funding’, The Conversation, 6 November 2014.

    ‘Risky Business? The Klinghoffer protests show opera’s relevance’, The Conversation, 24 October 2014.

    ‘Opera–The Art of the Possible’, Australian Book Review, 28 August 2014.

    ‘Class privilege and the classical arts – the problem of ‘elite’ culture’, The Conversation, 10 June 2014.

    Programme Essay. ‘A Short Introduction to a Very Long Musical Score’, Timeline.  Australian Tour by the Australian Chamber Orchestra, 19 May–4 June 2014, pp. 15–19.

    ‘The budget, the arts and the limits of marketplace thinking’, The Conversation, 15 May 2014.

    ‘The art of being awkward: Brandis is wrong about the Biennale’, The Conversation, 13 March 2014.

    ‘It’s time for tertiary music education to change its tune’, The Conversation, 4 February 2014.

    ‘Why ANU rethought private music tuition’, artsHub, 22 January 2014.

    ‘Enlightenment, not Entitlement: How Music Adds to a Life Well Lived’, The Australian, 24 January 2014, 13.

    ‘The Cultural Counterpoint of High Art’, The Australian, 22 November 2013, 15.

    ‘Explainer: Wagner’s Ring Cycle, Der Ring des Nibelungen’, The Conversation, 21 November 2013.

    Programme Essay. ‘The Crowd’. The Crowd.  Australian Tour by the Australian Chamber Orchestra, 11–13 October 2013, pp. 8–15.

    ‘Weimar Republic Berlin: A Silenced Witness’. Barry Humphries’ Weimar Cabaret.  Australian Tour by the Australian Chamber Orchestra, 27 April–8 May 2013, pp. 8–14.

    Programme Essay. ‘Percy Aldridge Grainger’, MSO in Concert. Melbourne Symphony Orchestra pp. 8–10, 30 August–1 September 2012.

    Muted Approach to Music Education Makes No Sense’, The Conversation, 7 April 2011.

    The Modern University and the Musical Mind: Sounding Out John Henry Newman. Newman Public Lecture. (Melbourne: Mannix College, 2010), 18 pp.

    ‘Lament for a Noted Absence’, The Australian Higher Education, 26 November 2008, 25.

    ‘Not a Place Out of Notes’, Keeping Scores: 120 years of Music Library Services at the University of Melbourne (Melbourne: University of Melbourne, 2008), 5–14.

    ‘Tilting at Windchimes: Contemplating Classical Music in a Postmodern World’, Salt, 16 (2003), 12–17.

    ‘Carl Seidel (1893–1980)’ Australian Dictionary of Biography, vol. 15 (Melbourne: Melbourne University Press, 2002).

    ‘The Ormond Affair: A Tale of a Tale’, in The Subversion of Australian Universities, ed. John Biggs and Richard Davis (Wollongong: Fund for Intellectual Dissent, 2002), 109–117.

    Introduction to the published full and vocal scores of Fritz Hart’s opera Riders to the Sea (Melbourne: Centre for Studies in Australian Music, 1997), pp. x–xiii.

    ‘Melbourne’ (Major Entry); ‘Fritz Hart’, ‘W. A. Laver’, ‘Franklin Peterson’, ‘J. A. Steele’ (Biographical Entries), Oxford Companion to Australian Music (Melbourne: Oxford University Press, 1997).

    ‘Raymond Hanson (1913–1976)’, Australian Dictionary of Biography, vol. 13, (Melbourne: Melbourne University Press, 1996).

    ‘The Ormond Chair of Music: An Introduction to its Origins’, Context 7 (1994), pp. 34–37.

    Numerous CD sleeve essays for Toccata Classics (UK), ABC Classics (Australia), ARTE NOVA Classics (Germany), Melba Records (Australia), and other commissioned programme essays and programme notes concerts and operatic performances in Melbourne, London, Edinburgh, Cambridge, Toronto, and New York. 

  • Mr Stephen Whittington

    Stephen Whittington

    Stephen Whittington lectures in Sonic Arts and Composition at the Elder Conservatorium of Music, University of Adelaide, where is also Associate Director International. He studied piano with Clemens Leske AM, and musicology with Prof. Andrew McCredie at the Elder Conservatorium.

    He is active as a composer, performer and writer. He has appeared as both performer and composer at international festivals in Adelaide, Melbourne, Sydney, Brisbane, Vienna, Annecy and Montpellier. His research interests include contemporary music, aesthetics and philosophy.

    Recent publications:

    • ‘From A Thatched Hut: Exploring Transcultural Composition’ in Xianlin Song and Youzhong Sun (eds), Transcultural Encounters in Knowledge and Consumption (Springer, Singapore, 2017), 109–122.
    • ‘JMW Turner and The Fallacies of Hope’, Sydney Review of Books, August 2022.
    • ‘En creusant le Jardin de John Cage’, in Jardins, ed. Marco Martella, Editions Pommes Sauvages (Paris, 2022).
    • Dr Joseph Williams

      Joseph Williams

      Joseph Williams is an early-career researcher and sessional lecturer in musicology at Western Sydney University and an Adjunct Lecturer in the Elder Conservatorium of Music, The University of Adelaide. His research explores historical folk revivals and their lasting influence on contemporary philosophies and policies surrounding traditional music. He is the author of the forthcoming monograph England’s Folk Revival and the Problem of Identity in Traditional Music (Routledge, publication date TBC).

      His research has been published in the Journal of Musicological Research and in Music’s Immanent Future: The Deleuzian Turn in Music Studies (Routledge, 2016, edited by Sally Macarthur, Judy Lochhead and Jennifer Shaw). He also maintains a keen research interest in street music, particularly in Australian regional settings.

      Joseph is a member of the Musicological Society of Australia and the International Council for Traditional Music. Outside his research and teaching career, he enjoys semi-professional pursuits in lutherie and performing Celtic-style guitar, and he is a long-term volunteer coach and committee member at his local community fencing club.


      Books (refereed)

      England’s Folk Revival and the Problem of Identity in Traditional Music . London and New York: Routledge (forthcoming)

      Journal Articles (refereed)

       “Busking in Musical Thought: Value, Affect, and Becoming,” Journal of Musicological Research, 35:2 (2016), 142–155.

      Chapters in Books (refereed)

       “An Immanent Approach to Theory and Practice in Creative Arts Research” in Music's Immanent Future: The Deleuzian Turn in Music Studies, ed. Sally Macarthur, Judy Lochead, Jennifer Shaw, 46–55. London and New York: Routledge, 2016.


       “Longhurst, Brian, and Danijela Bogdanović. Popular Music and Society. 3rd ed. Cambridge: Polity Press, 2014.” In Media International Australia, 159:1 (2016), 133.

       “Bithell, Caroline, and Juniper Hill, eds. The Oxford Handbook of Music Revival. New York: Oxford University Press, 2014,” in Global Media Journal (Australian Edition), 10:1 (2016).

      Conference Presentations

       “Line and Lineage: Rhizomatic Thinking and the Evolutionary Theory of Traditional Music,” at Exploring Musical Themes, Western Sydney University, 30–31 October 2019.

       “The Unquiet Grave: History, Identity, and Chaos in a Century of Traditional Music,” at the Conference of the Australasian Society for Continental Philosophy, Western Sydney University, 21–23 November 2018.

       “The Conceptual Territory of English Nationalism and the Territoriality of Traditional Music” at Intersections and Interventions: HDR Conference of the School of Humanities and Communication Arts, Western Sydney University, 9–12 July 2018.

       “The Cosmopolitanism of England’s Folk Music Revival, c.1890–1914” at Intersections and Interventions: HDR Conference of the School of Humanities and Communication Arts, Western Sydney University, 5–7 July 2017.

       ‘The Ontological Entanglement of Folk and Avant-Garde Music, 1895–1914’ at Creativity Unlimited Festival Paper Session, Western Sydney University, 1–2 Sep. 2016.

       “A Deleuze-Guattarian Perspective on the Scholarship of British Folk Revival c.1890–c.1930” at Politics and Art in Deleuze Symposium, Western Sydney University, 24–25 Nov. 2015.

       “Outline for the Concepts of Value and Creativity in a Study of Folk Music Revivals” at Musicological Society of Australia Annual Conference 2015, Sydney Conservatorium of Music, 1–4 Oct. 2015.

       “Grasping Space: Exploring the Role of a Concept in Composition” at Noise and Silence: SYO Composition Mentoring Program, Western Sydney University, 10 Sep. 2015.

      “Listening and Hearing: the Problem of a Sonorous Worldview” at Listening: a Symposium for HDR Students and UWS Researchers, Western Sydney University, 7 Aug. 2015.

       “Busking in Musical Thought: Value, Affect, and Becoming” at Street Music International Conference, Monash University, 8–9 Dec. 2014.


       “Rhizomatic Thinking and Traditional Music as Difference-in-Itself: A Virtual Historical Revision of England’s Victorian/Edwardian Folk Revival,” PhD Thesis, Western Sydney University, 2019

       “The Irish Traditional Music Assemblage: Towards an Active Philosophy,” Honours Thesis, Western Sydney University, 2014.

      Published/Performed Creative Work

       “Sakura,” on Guitar Solos 4. Psychopyjama (2017)

       “Si Bheag Si Mohr,” on Guitar Solos 4. Psychopyjama (2017)

      Sillage , Psychopyjama (2015)

      Grasping Space (Sydney Youth Orchestra Woodwind Ensemble, Western Sydney University Playhouse, 2015)

    Our affiliates

    • Professor Jennifer Clark

      Professor Jennifer Clark

      Jennifer Clark is an historian interested in the cultural history of Australia and the United States.

      Her books include: Aborigines and Activism: Race, Aborigines & the Coming of the Sixties to Australia (2008); The American Idea of England, 1776-1840 (2013); with A. Nye (eds) Teaching the Discipline of History in an Age of Standards (2018); with B. L Stiefel (eds) The Routledge Companion to Automobile Heritage, Culture, and Preservation (2020), and with A. Nye (eds) Teaching History for the Contemporary World (2021).

      Her interest in musicology rests with the belief that music is a much under-utilised  source for historians who are trying to understand the cultural and emotional life of past societies.My current research in this field examines the condolence compositions sent to Jacqueline Kennedy after the assassination of President John Kennedy.

      View researcher profile

    • Elizabeth Brookes

      Elizabeth Brookes

      An independent scholar, Elizabeth studied at The Australian National University, Canberra, and the Western Sydney University.

      Her research explores Speculative Psychoanalytic and Queer Theory, and Phenomenology within Music and Art, most specifically that of the Italian Baroque period. 

      She researches the often discussed possibility of particular composers being homosexual, and if this much discussed and speculated homosexuality is evident within their musical compositions, and what the possible 'affects' are for the spectators of that music, be those spectators the performers and/or the audience.