Two perspectives: In conversation

Drawing on Draper and Harrison’s earlier reflections in NiTRO on doctoral projects at Queensland Conservatorium (QCGU), I met with Charulatha Mani, an artist-researcher who has recently submitted her PhD on intersections between early opera and Karnatik music. From the perspective of a supervisor and a recent student, we talked about research in - and through - music in an institutional context.

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Opportunities for music academics/ performers at Monash

Rather than advertise precise positions, we are calling for EOI's with a cover letter, enabling applicants to showcase their own achievements rather than fit them into a position description. These are ongoing positions and available to both national and international applicants.

Classical instrumentalists with PhD/ DMA, composition (acoustic or electronic focus) with PhD/DMA, Professor of Music (any music discipline) and/or Professor of Australian Music (practice - ie research active but in the NTRO and income space)

Further information available at:

New Southbank home for Melbourne Conservatorium

Melbourne Conservatorium staff and students are busily moving in to their new home at the heart of Melbourne University’s art precinct on Southbank. The $109 million Ian Potter Southbank Centre is the centrepiece of the University’s major $200 million Southbank campus transformation. The Centre, which received major philanthropic support from the Myer Foundation, will be officially opened on 1 June 2019.

25 World Premiers and 100 compositions: The Australia Percussion Gathering

The second Australia Percussion Gathering, directed by Associate Professor Vanessa Tomlinson alongside advisors Tom O’Kelly, Dr. Louise Devenish and Francois Combemorel was held at Queensland Conservatorium, Griffith University in July 2016. Sitting somewhere between a music festival, a conference and a music camp, the six day event brought together industry professionals, international guests, and an impressive 96% of all students studying percussion in tertiary institutions in Australia. . .

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From Uncertainty Towards Fluency: My Doctoral Journey

The relationship between academia and artistic practice is in flux, and in my view that’s one of the reasons why the space in which they meet is an exciting place to be working. I undertook two postgraduate degrees in music both of which had an emphasis on practice-based approaches. . .

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Perspectives of Artistic Research in Music

Internationally, a great deal of effort and discourse has propelled artistic research in music into new areas of academic authority, authenticity and autonomy. Borgdorff, de Ruiter, Nettle and Pressing have all championed performance and practice-based research as legitimate ways for creating new and innovative music. Concurrent with the development of experimentation in music has come the legitimisation of making music as research.

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