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Queensland Conservatorium Research Centre (QCRC)

Championing music research that is artistically innovative and socially engaged Images Below: Left to Right

Taylor, V., Tedeschi, S. (2018). Denson Baartz Quartet. (2019). Chromatic Flight. Move. Dark Sky. Pinnacles Music.

Tomlinson, V. (2018). Dean, P. & Hall, R. (2018). The Space Inside. Room40. Dry River Run [Opera].

Wild Silk Strings Project. (2018). Orchestra & Our Focus Areas Colours of Your Love. Griswold, E. (2017). Water Pushes Sand. Jazzhead. Wolfe, B., Wolfe, J., Griswold, E.,& Tomlinson, V. (2018). Balfour., M., Bartleet, B. L., Davey, The Piano Mill. Uro. L.,Rynne, J., & Schippers, H. (Eds.) (2019). Performing arts Sunderland, N., Bendrups, D., in prisons. Intellect. Lewandowski, N., & Bartleet, B. L. (Eds.) (2018). Music, health and wellbeing: Bartleet, B. L. & Higgins, L. Exploring music for health equity and (Eds.) (2018). The Oxford social justice. Palgrave Macmillan. handbook of community music. Music and Creativities Oxford University Press. Grant, C., Faulkner, H., & So, P. (2018). At QCRC we are practising musicians. Living heritage: The artists of Bloom Collective (Griswold, E., Cambodian Chapei. Kampu Mera Press. Tomlinson, V., Buziak., R, Kelleher, V., & We seek to understand, enhance, and Baker-Finch, J.). (2018). Piano Bloom. share the creative processes within our Bartleet, B. L., Cain, M., Tolmie, music making and beyond. We explore D., Power, A. Shiobara, M. (Eds.) performance practices across a range (2018). Community music in Oceania: Many voices, one horizon. University of cultural and historical contexts, of Hawaii Press. compositional approaches and their interpretation, and technological innovations including audio recording, Music and Livelihoods multimedia performance, and instrument building. Artistic research activities At QCRC we are educators and lifelong include disciplinary and cross-disciplinary learners. We seek to explore holistic and collaborations and curatorial practice. creative ways of supporting emerging musicians, and those seeking to sustain Music and Communities Within this focus area, we provide a themselves as musicians and performing creative space for leading performers artists over time. We explore lifelong At QCRC we are engaged community and artistic researchers to work on learning processes, creative and professional members. We seek to explore how projects that critically consider the role development pathways, and pedagogical music both reflects and shapes the lives of music making and the performing arts and curriculum approaches to fostering of individuals and communities in our in our world, and what it may become. livelihoods, wellbeing, and artistic contemporary world. We explore the role Projects in this area currently comprise citizenship in a portfolio career reality. of music in cultural and environmental collaborative performances and festivals, sustainability, individual and collective interdisciplinary explorations in music Within this focus area, we provide a learning health and wellbeing, and positive social and science, and initiatives relating to space for educators and researchers to change. We work closely with communities, ecoacoustics, handmade electronic work on initiatives that assist emerging seeking to explore in deep and productive instruments, interactive music systems, and established musicians to sustain their ways the complex interactions between and environmental soundings. livelihoods. Our focus extends beyond music, people, and the world. employability to factors informed by human Our recent projects include Hidden Sounds rights, equity, and mental and emotional Within this focus area, our projects often (seven new sound sculptures funded by health. Our research in this area takes an cross disciplinary boundaries, and reflect the Council and presented at the ecosystems approach, and places value on a wide range of approaches to music Listening Museum, Tyalgum Festival and the importance of facilitating greater access and performing arts research. Research National Science Week), The Sound of to study opportunities and career pathways topics include the role and relationship of 84 Pianos in the Australian Piano Duo for students from diverse backgrounds. music and the performing arts to climate Festival, presentations by members at the change, social justice, environmental EcoAcoustics International Conference, Our current projects in this area include sustainability, health equity, desistance and a stimulating research symposium explorations of the nature of one-to- from crime, community wellbeing, poverty with internationally renowned artistic one pedagogy, professional practice and alleviation, and cultural sustainability. researcher Professor Darla Crispin. professional development, the healthy musician, higher degree pedagogy, popular Our projects feature ongoing music and musical theatre pedagogy, as well collaborations with a wide range of as an Australian Research Council Linkage community organisations and groups. Project, Making Music Work, which explores Current projects emphasise working with Waves: The lilting opening piano Savusavu: A calypso, composed motif in triple time sets the mood during a holiday waysat the beautiful to sustain portfolio careers in music. diverse cultural communities, refugee for floating on waves Fijian town of Savusavu and migrant communities, First Nations Flutter: This explores the technique Don This: for Don Burrows peoples of Australia and elsewhere, of flutter tongue Waltz: A pretty melody with a and older people experiencing chronic Ripples: The flowing pentatonic jazz feel in waltz time conditions such as Parkinson’s Disease. runs in this piece represent the pattern of ripples that spread out Flutist Blues: A 12 bar blues with when a pebble is thrown into a a bridge, featuring some bluesy pond pitch bends on the flute

Chromatic Flight: An exploration of the chromatic scale

Convolution: The melodic motif in this piece takes some convoluted twists and turns

Contemplation: A meditative, contemplative piece

Bossa Flauto: A Bossa nova inspired piece

Silly Galloot: …is rhyming slang for ‘flute” Research Outcomes Research Highlights from our Focus Areas

Making Music Work Hidden Sounds / To sustain successful musical lives at the beginning of the 21st century, most Listening Museum musicians have portfolio careers combining Listening is perhaps the most important aspects of performance, recording, creation, task of the musician—listening to our musical direction, teaching, community sound, listening to the space, listening Listening to Country activities, health, retail and a presence in to the environment, listening to each Aboriginal and Torres Strait Islander online environments. This phenomenon is other. The Hidden Sounds | Sounds in women are overrepresented in Australian widespread but not well understood. The Motion project developed seven discrete prisons. The majority are mothers, ARC Linkage Project Making Music Work sound sculptures in order to explore our experiencing the trauma associated with has explored the conditions and strategies relationship to sound through interactive and separation from family, community, and needed for musicians to sustain successful kinetic approaches, challenging technological country. The Listening to Country project portfolio careers over the past three years. boundaries, and pushing conceptual represented an innovative and creative This research explored the push (financial) innovation to encourage deep listening. approach to promoting cultural maintenance and pull (creative) factors influencing the and wellbeing among mothers, daughters, Our work has included hypnotic pulsations ways in which musicians navigate their sisters, aunties, and grandmothers in prison. emanating from giant elevated rotors as careers. This includes musicians’ educational they scattered soundwaves through the The research used principles and processes attainment and engagement, paid and air (Scatter, John Ferguson, Erik Griswold & from acoustic ecology, Indigenous story unpaid work commitments, the ways in Sulja Nezovic). We transformed retrofitted work, dadirri (deep active listening), which they engage across a range of music, library catalogues into individual sounding and arts-led inquiry to explore notions music-related and non-music roles, as well spaces from the local environment (Listening of cultural connection and maintenance as career satisfaction, commitment and Boxes, Vanessa Tomlinson & John Ferguson). for the participants, and the effects of the professional development needs. In line We converted sand-covered vibrating bass project on their wellbeing. This project with current debates and initiatives across drums and water covered gongs into sonic responded to a direct request from a group the classical and contemporary sectors, visualisers (Amber Waves, Erik Griswold & of Aboriginal women at Women’s our research also examined issues relating Sulja Nezovic), and our hands submerged Correctional Centre to create a culturally to gender, sexual harassment and bullying into water to trigger physically immersive appropriate sound recording for the and mental and physical wellbeing. soundworlds (Sonic Portals, Leah Barclay). purpose of reducing stress and connecting This project culminates in 2019 with a suite to natural environments and to country. Presented to thousands of people through of industry-focused outputs that feature National Science Week, Tyalgum Music It was built on a strong foundation of insights from a national survey of 600 Festival, and the Ecoacoustics International previous creative engagement and Australian musicians as well as eleven case Conference (co-hosted by QCRC), these consultation with women incarcerated in study profiles of musicians from around the works also became the focal point of . The research team included country. The project has been led by QCRC The Listening Museum (Erik Griswold QCRC Members Sarah Woodland and in partnership with the Australia Council for & Vanessa Tomlinson). Presented at Leah Barclay, Bianca Beetson (Queensland the Arts, Create NSW, Creative Victoria, the UAP—a working factory in the north of College of Art), and Vicki Saunders Department of Culture and Arts (WA), Music Brisbane—The Listening Museum saw the (QCRC Adjunct), with support from Trust, and . The research site of the factory become a playground Aunty Melita Orcher and Aunty Estelle team includes QCRC Director Brydie-Leigh for creativity. This artistic research was Sandow from the Brisbane Council of Bartleet, Dawn Bennett (Curtin University, funded by Australia Council for the Arts, the Elders.The project was funded by the QCRC Adjunct), and QCRC Members Ruth Australia Cultural Fund, and Clocked Out. Lowitja Institute, and has been supported Bridgstock, Scott Harrison, Paul Draper, by Queensland Corrective Services. Vanessa Tomlinson and Christina Ballico. មរតករស់ សិល្បករាប៉ីដងវ្ងកម䮖ុᾶ Living Heritage The Artists of Cambodian Chapei

មរតករស់ៈ សិល្បករាប៉ីកម䮖ុᾶ រៀប殶ប់អំពី徶ពសម្បូរប្បន្តន្䮏ីប្ព្ណីាប៉ី។ 㾶មរយៈរូបថត អម⯄យ家ក្យព្ចន៍ សៀវ必ន្ះ家ំ侶ំមកᾶមួយនូវរឿង殶៉្វដ៏គួរឱ្យរំភើបᾶច្ើន 䞶ក់ទងនឹងសិល្បករាប៉ី侶ព្លបច䮅ុប្បន䮓 រួម䞶ំងសិស្ស គ្ូបង្ៀនាប៉ី និងᾶងធ䮜ើាប៉ីទៀតផង។ រឿង殶៉្វ䞶ំងន្ះ 莶ក់ដូចᾶ厶នបញ䮇្ក់䎶 អ侶គតរបស់ាប៉ី គឺស䮐ិត俅ក䮓ុងដ្របស់ពួកគ្។ ⯄យាប៉ីត្ូវ厶ន ច៉ះបញ䮇ី⯄យអង䮂ζរយូណ្ស䮀ូ 䎶ត្ូវζរζរថ្រក្羶ஶំ家ᾶាំ厶ច់俄ះ សៀវ必ន្ះ 厶នចូលរួមយ៉្ងសំ޶ន់ ក䮓ុងζរចងក្ង និងអបអរដល់សិល្បៈវប្បធម៌រស់របស់កម䮖ុᾶដ៏អស䮅្រ្យន្ះ។

Living Heritage: Artists of Cambodian Chapei showcases the richness of this compelling musical tradition. The book unravels the story of the charismatic contemporary performers, students, teachers, masters, and instrument-makers in whose hands lies the future of this art form. With Chapei formally recognised by UNESCO as in need of urgent safeguarding, this book makes an important contribution to documenting and celebrating this outstanding part of Cambodia’s living cultural heritage. Our commitment to interdisciplinary collaborations on pressing social issues

to pay homage to the musical history of outback Australia; and the Biosphere Soundscapes International Workshop Symposium Perspectives on Listening, Recent examples include the award-winning, which brought together researchers from critically acclaimed 100 Ways to Listen anthropology, science and the arts to explore project that explored the art and science the role of sound in understanding place of sound through innovative performances, and environmental change, featuring Dr interactive installations, immersive sonic Monica Gagliano and Professor Steven Feld. environments and augmented reality sound The front cover of our brochure features walks during World Science Week; the Sing video footage from our recent project, to Beat Parkinsons project that explored Scatter. This was a solar-powered the experience of singing in a group and Our research is underpinned by a firm belief installation, sonic composition, and its effect on participants’ quality of life, that music and the performing arts have a artistic research project led by QCRC voice, communication and psycho-social unique role to play in addressing some of the members John Ferguson and Erik Griswold wellbeing in Brisbane, Canterbury (UK), most pressing issues of our time. Based on and Queensland College of Art’s Paul Beijing, and Seoul; and the Australia- a conviction that music and the arts matter, Bardini, and Daniel Della-Bosca. In 2019 Indonesia Institute project, and with core values of cultural, social and Shadow Scatter was commissioned by Curiocity , which environmental responsibility, we seek to Puppets and Neglected Diseases Brisbane for a three week install in the worked with Javanese shadow puppetry understand and amplify the role of music heart of Brisbane’s Cultural Precinct. as a vehicle in village communities for in contemporary issues, and interrogate disseminating important health education. This interdisciplinary research has been contemporary issues through music. underpinned by a succession of six ARC Recently we collaborated with the Griffith In our research we have collaborated with Linkage grants as well as by Artist- Law Futures Centre on a colleagues from fields as diverse as health, Music and Human in-Residence programs, including the community performance that criminology, law, education, biology, earth Rights EcoScience Precinct (QLD), and recent explored the intersection of music and science, environmental science, architecture, grants from the Lowitja Institute, human rights in light of Queensland’s new visual arts, and interactive media, to Department of Foreign Affairs and Trade, Human Rights Act. We also worked on the explore the distinct ways in which music Queensland Department of Health, internationally award-winning , a and the performing arts can play a key Piano Mill UNESCO, Australia Council for the unique architectural feature nestled in the role in addressing climate justice, health Arts, and the Brisbane Powerhouse. forest at Willson’s Downfall (near Stanthorpe, equity, social justice, desistance from Queensland) that brings together a focus crime, poverty alleviation, biodiversity, on architecture, music, and the environment and human rights, to mention a few. As such, our research is well known for its commitment to interdisciplinarity. Our Research Approach We are a research centre committed to exploring the boundaries of music and the performing arts and how they contribute to our global society. As such, we are known worldwide for our creative research approaches and progressive thinking.

Our position in the heart of a leading Conservatorium and our We have remained committed to being key players in our national connection to a University with a strong social agenda allows us and international practice and research. In 2019/2020 we continue to combine cutting-edge creativity and artistry with innovative to engage across the world through delivering keynotes, performing approaches to social, environmental, and community-focused at national and international festivals and events, and disseminating engagement and change. As such, we are known for tackling our creative and text-based scholarship across multiple platforms. In complex projects that explore and unpack the multifaceted roles 2019, the quality of this work was recognised with a rating of ‘4 – that music, and the performing arts, play in contemporary society. Above World Standard’ in the Australian Government’s Excellence in Research for Australia (ERA) in the field of Performing We use a wide suite of innovative research methods (including Arts and Creative Writing. artistic research), and design our projects to produce significant artistic outcomes, cultural benefits, and social dividends. We look forward to engaging with you through our series of performances, conferences, specialist research gatherings, Our centre’s research environment is deeply collaborative and lectures, and visiting scholars in our home base in Brisbane, collegial. Our researchers are dedicated to working in interdisciplinary Australia. For further information, please visit: www.griffith. teams alongside communities, industry and partners, and committed edu.au/queensland-conservatorium-research-centre to harnessing new technologies and engaging the public to play a role in our projects, events, installations, and performances. Our three Focus Areas offer diverse yet complementary lenses to explore music and the performing arts across a wide range of contexts. These areas draw on our distinctive research strengths as practising artists, engaged community members and lifelong learners, and align with our flagship projects, HDR candidates, partners, and collaborators. Queensland Conservatorium We acknowledge the Traditional Custodians of the lands on which QCRC Research Centre works, and pay our respects to Elders, past, present and emerging. We Griffith University, extend that respect to Aboriginal and Torres Strait Islander colleagues 140 Grey Street, South Brisbane and leaders in our communities and at Griffith University. QLD, 4101

+61 7 3735 6335 [email protected] @qldconservatoriumresearchcentre/

@QCRC_Research Download the QCAAR app and griffith.edu.au/queensland-conservatorium-research-centre scan the cover to view a recent project led by QCRC members PHOTOGRAPHY called Scatter. Greg Harm (Tangible Media) 160 MB 48 MB DESIGN Freya Turkington, Liveworm Studio, Queensland College of Art, Griffith University

ASSOCIATE MEMBERS AProf Margaret Schindler Dr Diana Tolmie CRICOS No. 00233E CRICOS Dr Gerardo Dirié Dr Linda Hassall Goldsmiths University, London

DIRECTOR Mr Matt Hitchcock Guildhall School of Music and Drama, London Prof Brydie-Leigh Bartleet Mr Paul Dean International Centre for Community Australian Network for Mr Trevor Jones Music, York St John University Art and Technology DEPUTY DIRECTOR International Music Council, UNESCO (ANAT) Prof Vanessa Tomlinson ADJUNCT MEMBERS International Society for Music Australian Society for Music Education Dr Christina Ballico (JMC) Education (ISME) Barkly Regional Arts CENTRE MANAGER Prof Dawn Bennett Lifelong Learning Research Unit, Behringer Australia Dr Charulatha Mani (Curtin University) Prince Claus Conservatoire, Hanze Brisbane Powerhouse Dr Erik Griswold Melbourne Conservatorium of Music, Black Dog Institute FOCUS AREA CO-CONVENORS Dr Gillian Howell Centre for Folklife and Cultural Heritage, Prof Andrew Brown Prof Huib Schippers Smithsonian Institution, USA (Music and Creativities) (Smithsonian Folkways Records) New York University Creative Victoria Dr Louise Denson Dr Jocelyn Wolfe Norwegian Academy of Music, Norway (Music and Livelihoods) Department of Culture and the Arts, WA Dr Natalie Lewandowski-Cox Orpheus Research Centre in Prof Stephen Emmerson () Music (ORCiM), Orpheus Institute, EcoScience Precinct, Department (Music and Creativities) Ghent, Belgium of Science, Information Technology Prof Paul Draper and Innovation Dr Catherine Grant Prof Peter Roennfeldt Royal Conservatoire, The Hague, (Music and Communities) The Netherlands Feral Arts Prof Richard Moyle Hook, Line and Sync Pty Ltd AProf Naomi Sunderland (Centre for Pacific Studies, Schulich School of Music, (Music and Communities) University of ) McGill University, Montreal Judith Wright Centre of Contemporary Arts AProf Donna Weston Dr Roy Howat Sibelius Academy, (Music and Livelihoods) (Royal Academy of Music, University of the Arts, Helsinki Leweton Cultural Village, Royal Conservatoire of Scotland) Simon Fraser University, Canada Espiritu Santo, Vanuatu MEMBERS A/Prof Sandy O’Sullivan Sydney Conservatorium of Music, Music Australia Mr Brendan Anthony (University of Sunshine Coast) Music Trust Prof Donald Stewart Mr Sandy Sur School of Music, Musicians Without Borders (Leweton Cultural Village) Prof Gemma Carey Musical Pty Ltd Dr Yoon Irons University of Mr Graeme Jennings (University of Derby) Queensland Music Festival University of the Sunshine Coast (QMF) Dr Irene Bartlett Western Sydney University Queensland Performing Arts Centre Dr John Ferguson UNIVERSITY MUSIC LIBRARIAN Yong Siew Toh Conservatory (QPAC) Ms Karin Schaupp Mr Ryan Weymouth of Music, Singapore Regional Development Australia, NT Dr Lauren Istvandity SONY Research Laboratories, Paris Dr Leah Barclay ACADEMIC PARTNERS INDUSTRY PARTNERS State Library of Queensland Australian National Academy Dr Leah Coutts Australia Council for the Arts (SLQ) of Music (ANAM) Prof Ruth Bridgstock Australian Art Orchestra Tall Poppy Productions Association of European Dr Sarah Woodland Conservatoires (AEC) Australian Forum for Ultrafonic Acoustic Technology Prof Scott Harrison China Conservatory of Music, Beijing Tura New Music Australian Music Centre (AMC) Dr Stephen Newcomb Curtin University UNESCO Man and Biosphere Programme