2018Conference

SoWhat?JazzandImprovisedMusicResearchanditsImpactonArtists,ScenesandSociety

1-3June2018

ParisCat6GoldiePlaceMelbourneAustralia

PresentedbyTheSirZelmanCowenSchoolofMusic

MonashUniversity

inassociationwiththeMelbourneInternationalFestivalofJazz

AUSTRALASIANJAZZANDIMPROVISATIONRESEARCHNETWORK

AgencyinJazz&Improvisation

TheAustralasianJazzandImprovisationResearchNetwork(AJIRN)ispleasedtopresenta

3-dayresearchconferenceonjazzandimprovisedmusicpresentedbyTheSirZelmanCowen

SchoolofMusic–MonashUniversityinassociationwiththe2018MelbourneInternational

JazzFestival(MIJF).

SoWhat?isatimelyinvitationtoexploretheimpactofjazzandimprovisationresearchon

artistsandcommunitiesofpracticeandthewayweputjazzandimprovisationknowledgeto

workinavarietyofdifferentfieldsandsettings.Thoseinterestedinpreparingproposals

mayconsiderthefollowingquestions:

• Whataretheimplicationsofjazzandimprovisationresearchforotherartisticand

researchcommunities?

• Howareaudienceattitudesshapedbyinstitutionalagendas?

• Howdoesresearchundertakenintheacademyfeedbackintocommunitiesof

practiceandhowmightthisbestbemeasured?

• Whatcanwedotoenhanceourimpactwithinourownresearchandcreative

communities?

AJIRNBoard

AssociateProfessorRobertBurke:President

FionaBurnett:Secretary

DrNickHaywood

DrChrisCoady

ProfessorRogerDean

ProfessorBruceJohnston

AssociateProfessorAndrysOnsman

ConferenceCommittee

AssociateProfessorRobertBurke:Convener

FionaBurnett:Chair

DrNickHaywood

DrChrisCoady

Day1

OpeningReception5:00–6:30pm

ParisCat6GoldiePlaceMelbourneAustralia

Day2SATURDAY2ndJune

Time Rm1Upstairs Rm2Downstairs

9.00Registration-(MiddleRoom)9.15 Introduction-(MiddleRoom)

Session1 Session2

Audiences CreativeCommunities

9.30 BarryLongEllingtonandColtrane:ToneParallels

JohnMackeyExtendedApplicationofthePentatonicScale

10.00 TimO'DwyerJazzEducationintheLionCity:BuildingaJazzprogrammeinSingapore,abridgetoofar?

JohannesLuebbersTheapplicationoftheTonnetztonalmapinajazzcompositionpractice

10.30 AlisterSpence'What'sNew?':Contingencyasanagentofchangeinimprovisationandcomposition

JamesMcleanSomaticParameterLayeringattheDrumset:GenerativeProcessesadaptedfromEmbodiedMusicCognition

11.00 Break Break

Session3 Session4

Institutions Communities

11.30 BruceJohnstonMakingaDifference:moregigs,betterpay.

BenPhippsPerspectivesinDialogue:Research,practiceandpraxis

12.00 AndrysOnsmanHowdoesresearchundertakenintheacademyfeedbackintocommunitiesofpracticeandhowmightthisbestbemeasured?

HelenRussell,BruceWoodwardContemporarymusicstudents’experiencesofimprovisationintheclassroom.

12.30 GlenHodgesJoiningTheDots–Identifyingwhyjazzandimprovisedmusicresearchwithnon-traditionaloutputs“meanssomething

AdrianMcNeilImprovisationandCreativity:Emergingcross-culturalperspectives

1.00 Lunch

Session5

1:40 AlistairMacaulay(PostGraduatePaper)Deleuze:ImprovisationasExpressiveRelation

2.00 RobertBurkeTransferableKnowledgeinFreeJazz

2:30 DaveWilsonWhatisthisthingcalledcollaboration?:Ethnographyandtheimplicationsofmusicmakingasresearch

3:00 Break

Session6

3:20 RogerDeanTowardsaDeepNetImproviser

3:50 CatHopeSoWhatabouttheWomen?TheimpactofGenderMixonCommunitiesofPractice

Session7 Session8

PostGraduatePapers PostGraduatePapers

4:20 AaronMcCoulloughConvergingStructures:Anexplorationofsyntacticrhythmicorganisationwithinimprovisedpractice.

JonathanZionHowcanresearchintomusicalinterplayinJazzexpandpractitioners’reachformeaningintheirmusicmaking?

4:40 GeraldMarkoSonicFreedom:Differentiatedmuscularvoicecontrolincontextofjazzvoicequalitiesandimprovisation

BonnieGreenAdashthroughmemorylane:SnapshotsofthehistoryofimprovisationintheWesternartmusictradition

5:00 SimonPettyAcknowledgingTasmania’sUniqueContributiontoAustralianJazzHistory

JordanMurrayIndicesofStyleinGroupImprovisation:AnApproachtoGroupImprovisedMusic

05:30 Close Close

Day3Sunday3rdJune

9.00 Coffee

Session9 PerformancePhilosophies

9:30 FionaBurnettSoWhatIsTime?:Anexaminationofthetemporalelementinmusicimprovisationanditsimpactonperformanceandresearch

10.00 HannahReardon-SmithSympoiesisinFreeImprovisation

10:30 RobinRyanIntegratingtheMusical,theNatural,andtheImprovised:DavidRothenbergandMultispeciesMusicking

11.00 Break

Session10 CreativeCommunities

11.30 AndrewButtJazzupNorthDownUnder:Aninquiryintojazzperformance,cultureandidentitythroughcollaborativerecitalsinQueensland,Australia

12.00 AleishaWardGoingtoTownintheBigJam:'Official'JamSessionsinthe1940sandthedevelopmentoftheNewZealandjazzcommunity

12:30 JohnWhiteoakAGood'BlackMusic'Story?BlackAmericanStarsinAustralianMusicalEntertainmentBefore'Jazz'

1.00 Lunch2.00–2:20 Performance

JoeO’Conner

Session11 PerformancePhilosophies

2:30 TimWillis,PaulWilliamsonListeningtoCommunitiesofPractice

3:00 AndySuggExplainingandAdvocating:WritingaboutJazzandImprovisedMusic

3:30 LaurenIstvandity“TradingFours”:Atranslationaljazzheritageprojectusingcompositionandperformance

4.00 Break

Session124:20 PhilSandford

Willie‘TheLion’McIntyreandtheDevelopmentofAustralianTraditionalJazz

4:50 PhillipJohnstonJazzin’TheSilents:JazzandImprovisedMusicinContemporaryScoresforSilentFilm

5:20 Closingcomments

Session1BarryLongEllingtonandColtrane:ToneParallelsFollowingthereleaseofDukeEllington&JohnColtraneinFebruaryof1963,manycriticsnotedtherecording’sremarkablesuccessdespitethemusicians’seeminglydisparatestylesanddirections.Asthepair’smostpublicintersectiontherecordservesasastartingpointforaninvestigationoftheirmusicalandculturalparallels,particularlyinregardstospiritualityandsocialjustice.BothchosecreativeresponsestotheemergingCivilRightsMovementratherthanpubliccommentary,illustratedlaterthatsameyearbyEllington’scentennialcelebrationoftheEmancipationProclamationonMyPeopleandColtrane’srecordingofAlabama.Inoptingtoleadbyexample,theirworkprovidedrolemodelsforcommunitiesbeginninginthe1920sthroughtheBlackArtsMovementofthe1960s.Despiteverydifferenttrajectories,theircareersconcludedinsimilarmomentsofspiritualexploration.Ellington’sSacredConcertscompletedadiscographythatcontinuallyexploredwhatStanleyCrouchdescribesastheblurredlinesbetweentheSaturdayNightFunctionandSundaymorning’sGospelreckoning.MahaliaJackson’swordlessvocalsonhis1958Black,Brown,andBeigerecordingwouldinfluenceColtrane’smovetowardsphrasesandeventuallymelodiesmotivatedbyspeech,culminatingwithPsalm’ssyllabicinvocationonALoveSupreme.ThispaperintendstoinvestigatesuchintersectionsandinparticularthewaysinwhichtheirextendedworkssimilarlyaddressthecommunalAfrican-Americanexperienceduringpivotalsocialandculturalmoments.TimO’DwyerJazzEducationintheLionCity:BuildingaJazzprogrammeinSingapore,abridgetoofar?Singaporehavingemergedasaneconomicpowerhouseinthe80’sand90’s,andasayoungnationof60plusyears,isnowevolvingquicklyintermsofitsculturalidentity.EducationalandCulturalinstitutionshaverisenonthiseconomicstabilityincludingthecreationoftheYongSiewTohConservatoryattheNationalUniversityofSingapore,theSchooloftheArts-Singapore’sfirstandonlypre-tertiaryspecialisedartsschool,andtheEsplanadeTheatresontheBay-Singapore’snationalperformingartsvenue.However,andparticularlysincetheFinancialCrisisof2007-8,JazzinSingaporehasfacedsignificanteconomicchallengesforitssurvivalinoneofthemostexpensivecitiesintheworld.Currently,forexample,therearenodedicatedJazzvenuesinSingaporeformusicianstopresenttheirwork.Fromaneducationalperspective,JazzfaceschallengesregardingthedearthofJazzeducationprogrammesorevenbroaderexposuretostudentsathighschoollevelanditsbroaderacceptancewithinSingapore’smulticulturalsociety.However,sincetheturnofthecentury,moreandmoreyoungandtalentedJazzmusicianshaveneverthelessbeensurfacing.Someoftheelitehavehadthemeanstofurthertheirpractice,bybeingabletolive,andstudyabroadinNewYork,andcomebacktocontributetothelocaljazzcommunity.Moreover,andimportantly,thefirstdegreeinjazzperformanceinSingaporewasestablishedatLASALLECollegeoftheArtsbytheMelbourneexpatriatesaxophonistDr.TimO’Dwyerin2005.

Dr.O’DwyerwilltalkabouthisexperienceinbuildingaJazzprogrammewithintheSingaporemilieuanddescribethechallenges,successes,andtheimpactoftheprogrammeonthepracticeofjazzinthewidercommunityintheLionCity.AlisterSpence'What'sNew?':ContingencyasanagentofchangeinimprovisationandcompositionThispaperinvestigatestheconnectionsbetweencontingency,ortheactionofchanceandindeterminism,inimprovisation(andit’sassociatedrelationshipswithcomposition),andproposescontingencyasadriverofnewideas,newinteractions,newsounds,newperceptions.DrawingonthehistoryandpracticesoftheExperimentalMusicmovementinthe1950s(Nyman1999)andincludingthejazztraditionasessentialintheexperimentaldebate(Lewis1996),Iinvestigatethepotentialofcontingentelementspresentinimprovisedmusicmaking:elementsthatarebeyondthefullcontrolofthecomposerand/orthemusicians,and/ortheaudience.Myresearchinvestigatestheseelementswithinthepracticeofthreestylisticallydifferingcasestudies:the‘beyondfreejazz’workofpianist/composerSatokoFujii(Japan),‘minimalismmeetsjazz’workofdrummer/composerJohnHollenbeckwiththeClaudiaQuintet(US),andtheacousmaticandspectralmusicpracticesofthepreparedinstrumentquartetDansLesArbres(NorwayandFrance).Cross-referencingtheoutcomesofthesepracticesagainsttextsbyPiekut(2014),Priest,(2013),Kane(2014),Gottschalk(2016),Tenney(2014),Lacy(2006),Bailey(1993),andothers,Icontendthatcontingencyisapotentforceinmusicmaking.WhatIhavetermedtheExperimentalCompositionImprovisationContinuum(ECIC)viewstherelationshipsbetweenthecontingent(experimental)andcompositionalandimprovisationalelementsinmusicmakingasbeinginflux:flowingbetweendifferingdegreesofengagement.TheECICoffersawaytopositionworkbeyondgenreandtoacknowledgethecontributionofelementswithinit,‘theoutcomeofwhichis[are]notfullyknown’(JohnCage).

Session2JohnMackeyANU–ExtendedApplicationofthePentatonicScaleThisresearchfocussesonthedevelopmentofimprovisatoryvocabulary,utilizingthechromaticapplicationofpentatonicscalestructures,inpermutatedformationstocreateblendedlineconstruction.Thisnewmodalconceptencompassestherelationshipandweightingsofconsonantversusdissonantnotechoicestoformanimprovisedmelody.TheMajorPenta-TalvianModalConcept(MPTMC),anagrammaticindesign,isstructuredinsuchawaythattheimprovisercanapplypentatonicstructuresinagraduatedfashion.Themodalconceptinvolvesthesuperimpositionofpentatonicscalestructuresoverachordtocreateinterest.Theconceptisdesignedtoallowpractitionerstodevelopattheirownpaceandauralaesthetic.Thispracticesystemusesthesymmetryandnaturalmelodicnatureof

thepentatonictoapplyvariedlevelsofconsonantanddissonantnotechoices.Themodalconceptcanbeappliedinarandomfashionorinamoremathematicalway.OnecanalsodefinetheMPTMCasapentatonicsystemthatisappliedinaseriesofstages,exploringastructuredandlayeredapproachtosuperimposingthepentatonicscaleoveragivenchord.Thesystemisdesignedaroundfourspecificoptions,givingtheimproviservariousoptionsofchromaticapplications.Theimproviserdecideshowfarawayfromtheparentkeytheywishtoventure.Academicresearchisappliedinmanyformsincluding,practice-ledpedagogicalsystems,oneononelessonsandperformancepracticethroughcomposition,liveperformanceandrecordedoutput.Measuringtheimpactofthesefacetsmaybeseenthroughtheamountofpractitioners,studentsandmusicologistswhoembraceandutilizeaconcept.Myhopeistoinfluencefuturegenerationsofpractitionerstoconsiderthismodalconcept.Mypresentationwillincludeanaudio-visualpre-recordedstudiosessionwithademonstrationofthemodalconceptutilizingnotatedlines.JohannesLeubbersTheapplicationoftheTonnetztonalmapinajazzcompositionpracticeThispresentationproposestodemonstratehowanalyticalapproachesthatemergeoutofjazzresearchmightbereappliedascreativecompositionaltools.Specifically,IwilllookattheRiemannianTonnetztonalgridandit’sapplicationintheconstructionofharmonyinajazzcontext,demonstratinghowresearchundertakenintheacademymightbereappliedwithinacommunityofpracticewithnovelresults.TheTonnetztonalmapiswasfirstdescribedbyLeonhardEulerin1739,andlaterexploredbymusicologistHugoReimann,asawayofvisualisingrelationshipsbetweenchords.IthasbeenexploredmorerecentlybyNeo-RiemanniantheoristssuchasRichardCohnandDavidLewin,particularlyinrelationtolateRomanticmusic,whereharmonicfunctionisstretchedbeyondtraditionalanalyticalunderstandingbutremains‘functionallycoherent’(Engebretsen&Broman,2007).InrecentyearsjazztheoristssuchasStevenStrunkandGuyCapuzzohaveexploredtheTonnetzmapasawayofunderstandingjazzharmonicpractice,particularlythatwhichextendsbeyondtraditionaltonalfunctions.ThoughtherehavebeenseveralanalysesofjazzwithregardtotheTonnetzandNeo-Riemanniantheory(Briginshaw2012,Park2016)thereislittleexplorationofhowthisanalyticalapproachmightbeusedcreativelywithinjazzcomposition.InthispaperIpresentananalysisofmycomposition‘SteppingStones’,composedin2017,asademonstrationofhowtheTonnetztonalmapmightbeusedtoconstructharmonicprogressions.ThroughtheanalysisIhighlighttheimplicationsofthisapproachonharmonicrelationships,phrasingandformalstructures,aswellasthepotentialforharmonicretrograde.IndiscussingthisworkIaimtoofferbothinsightintomycompositionalapproachandthepotentialfortheTonnetzasacompositionaltool.Ialsoaimtodemonstratethepotentialforanalytictoolsthatemergeinacademiccontextstobeappliedwithincommunitiesofpractice.

JamesMcLeanSomaticParameterLayeringattheDrumset:GenerativeProcessesadaptedfromEmbodiedMusicCognitionTheemergingresearchfieldofembodiedmusiccognitionpresupposesmusicalcognitionandperceptionasactivities“structuredbythebodysituatedinitsenvironment”(Iyer2002,388-389).Anotablesubsetofthisdomainarethoseprojectsexaminingtherelationshipbetweenbodyandinstrument,andhowtheaffordancesthereofcanshapemusicaloutcomesandaesthetics.Whileexistingliteraturehasanalysedperformancepracticeattheguitar(BaileyandDriver1992),piano(Iyer1998,2002),andbanjo(Rockwell2009),therehasbeennosuchresearchconductedforthedrumset.Myprojectfillsthisgap,correlatingacademicresearchtoaspectsofpedagogicalandprofessionalpractice,indoingsoidentifyingtwoareasofdrumset-specificembodiedknowledge.First,anunderstandingofstickingcellsasembodiedknowledgeencodedwithspecificrhythmicforms;andsecond,anoriginaltaxonomyforclassifyingtypesofindividualandcombinedmovementcyclesasappliedtothedrumset.Furthermore,followingaprocess-drivenpractice-ledresearchmodel,thesetwoarecombinedasvariableparameterswithinanoriginalgenerativeprocessentitledsomaticparameterlayering,thatIusetofurnishmusicaloutputsintheformofsolodrumsetpieces(videoexcerptsfromwhichwillbeincludedinthispresentation).Inadditiontothepotentialanalyticalandpedagogicalbenefitsofsuchdrum-setspecifictheory,throughthisprocessIhopetodemonstratetheutilityofapplyinganembodiedmusiccognitionparadigmtothecreativepracticeofanimprovisingperformer,regardlessofinstrument.

Session3BruceJohnsonMakingaDifference:moregigs,betterpay.Theusualobjectivesforresearchintoimprovisedmusicarerelatedtoscholarlyparameters:tolearnmoreaboutculturalhistory,toformaricherunderstandingofhow,whyandtowhateffectsthesemusicsrepresentformsofculturalproduction–asonewhoseresearchandpublicationsaredominatedquantitativelybythiskindofwork…meaculpa!Culturaltheoryisrarelyfarawayintheseendeavoursandthemorecentralitbecomesthemorelikelyitwillbethatworkingmusicianswillhavetheirprejudicesagainst‘ivorytowers’confirmed.Buttherearewaysinwhichsuchresearchcanmeasurably,materiallyimprovetheconditionsinwhichperformersoperate,actuallygeneratemoreopportunitiesandhigherreturns.Theproblemisthatitdoesn’thappenveryoften.ButIdoubtthatanyonehaseverscoredagigbytalkingaboutDeleuze.Thispaperwillbeuntheoretically,bluntlypragmatic.Itwillnarrateacasestudyinwhichtherewasadirectlinkbetweenpainstakingresearchandbringingmaterialbenefittotheworkingconditionsofjazz(andotherpopular)musicians.Althoughtheresearchanditsdeploymentweremine,thisisnotsimplytoself-promote;asinallourresearch,wereportfindingsarisinginthecourseofourwork.IlearnedseveralimportantlessonsthatIthinkarewortharticulating.OnewasthedisdainamongmyacademiccolleaguesthatIshouldnotonlywanttomakethatlink,butthatIcould.Thisinitselfraisesthequestion,‘WhydidItoohavetoovercomemyownmildembarrassmentaboutproposingthispaper?’Anotherlessonwasthatthereareimportant‘tricks’tomakingtheconnectionbetweenjazzmusician,

academicandeffectivepoliticallobbyist.Theyaresimple,butnecessary,ifwe,asresearchers,wanttoanswerthequestion‘SoWhat?’inpracticalterms.AndrysOnsmanHowdoesresearchundertakenintheacademyfeedbackintocommunitiesofpracticeandhowmightthisbestbemeasured?Researchintheacademyisgenerallyconductedthroughtheauspicesofaneducationalinstitution:reviewedandevaluatedbyacademicsandaccreditedintermsofaformalstructureofsomekind.Researchaboutjazztendstobemainlyabouthowimprovisationservesasananalogyfornon-artisticcontextsorhowthebrainfunctionswhenmusiciansimprovise.Whilebothareinterestingandworthwhileendeavours,neitherisspecificallyrelatedtojazzperse.Practicallyfromthemusician’spointofview,theonlyworthwhileresearchtobedoneisintoeitherhowsheplaysorwhatsheplays.Thisstudyfocusesonmusicianswhopursueresearchintotheirownwork.Thereisagrowingbodyofevidencesupportinganargumentthatuniversitiesareprimarilyconcernedabouttheinternalstructuralprocessesofresearch,evaluatedbyexperts,ratherthantheoutcomes,whichareevaluatedbypersonalsatisfactionand/ormarketforces.AsChrisCoadyandMichaelWebbputit:Recentresearchonpractice-baseddoctoratesinAustraliahasrevealedaninstitutionalpreferencefor‘theorised’researchapproachesaimedatsituatingstudiesofpracticewithinestablishedacademicparadigms(Coady&Webb,2017;71)ThedisturbingaspectthisapproachisevidencedinthecaseofanAustralianuniversityawardingaPhDonvaccinationthroughitsArtsfacultyonthebasisofitsstructure,whileitsMedicalSchooldecrieditscontent.Analogieswithresearchintomusicpracticeareobvious.Basedonthepreliminaryresultsofanon-goingsurveythispaperhypothesisesthatresearchintojazzperformanceundertakenintheacademyfeedsbackintocommunitiesofpracticebywayoftheresearchers’ownpractice,whichmakesmeasurementofimpactentirelysubjectiveandthereforeunverifiable.Withoutmetricsandrubrics,whatcanbemeasuredandwhatisthepointofsuchmeasurement?DrGlenHodgesJoiningtheDots:Identifyingwhyjazzandimprovisedmusicresearchwithnon-traditionaloutputs“meanssomething”.Whileresearchinareassuchasthefinancialimpactoftheartsattractsomefundingandothersofsimilarilkareseenasusefulorcredibleresearchoutputsthereareanumberofimageproblemswithmostresearchintomusicpractice.Forthegeneralpublictheyinclude;it’sapparentdisconnectfrom“everyday”issues;it’ssupposedirrelevancetoeconomicfactors;it’sapparentlackof“scientific”orquantitativeanalyticalmethodsandit’sperceivedelitism.Intheacademy,muchofthetraditionalmusicologicalresearchhastendedtohaveatextornotationalfocus,whichhasgivenitafoundationalvaliditybyassociationwithliteraryandotherestablishedtext-basedmethodologiesanddisseminationparadigms.

Thechallengeforthefieldofjazzandimprovisedmusicresearchwithnon-traditionaloutputsisfirstlytoestablishacredibleandrecognizedfoundationthatdoesnotrequireconstantrestatementbutthento“jointhedots”ofthebenefitstocommunitiesofpracticeandconsumptionaswellasthewiderimpactsthatbenefitregionalandnationalcommunities.Whilethisshouldnotrequireeveryresearchprojecttohaveasamajorfocustheexplicationofgreaterorconcretebenefitwecan’tjustassumeanairofentitlementtojustifyourrelevance.Othermusicsubcultureshavetriedthisandthejigisup.Toachievesupportwithinandwithouttheacademyweneedsomehowtojointhedots….

Session4

BenPhippsPerspectivesinDialogue:Research,practiceandpraxisResearchinthefieldsofjazzstudiesandimprovisationoverthepastdecadehasincreasinglysoughttoaddressthegapbetweenperformancebasedperspectivesemanatingfromcreativecommunitiesandtheperspectivesofscholarsexaminingthesocialandculturalimpactofthesecreativecommunities.Themethodsscholarshaveutilisedinattemptingtobringthesedifferentperspectivestogetherandinsodoingincreasethedegreetowhichcreativecommunity’svoicesarerepresentedinresearchhavenotyetreceivedsignificantattention.Inthispaper,Ipresentonesuchapproachinvolvingdialogicalengagementwithmusiciansinresearchrelatedtojazzandimprovisation.Drawingonmyexperiencesasbothanethnomusicologistanddoublebassplayerresearchingjazzandimprovisationalpractice,Isuggestthatoneofthewaystoensurethatresearchonjazzisrepresentativeoftheperspectivesandexperiencesofmusiciansincreativecommunitiesistoexplicitlyinvolvethemintheprocessofbothresearchandrepresentation.Sucharesearchapproachhasthecapacitytobringtolightnewwaysinwhichbothresearchandcreativecommunitiescanunderstandthemusicalandsocialmeaningsofjazzanditsbroaderrelevancetosociety.HelenRussellandBruceWoodwardContemporarymusicstudents’experiencesofimprovisationintheclassroom.Theabilitytoimproviseisatthecoreoftheskillsetofthecontemporarypopularmusician.Beyondsimply‘takingasolo’,contemporarypopularmusiciansoftenfreelymanipulatetheelementsofmusicduringrehearsalandperformance.Despitethiswidespreadapplicationofthepractice,improvisationisrarelyexploredasacorepartoftheundergraduateexperienceincontemporarypopularmusicprogram.Morefrequently,explicitinstructioninandthesustainedexplorationof,improvisationremainsafeatureofjazzorimprovisedmusicprograms.Thisresearchseekstodocumenttheexperiencesofstudentsinthefinalyearofanundergraduatedegreeincontemporarypopularmusic,astheyencounterasemester-longcourseonimprovisation–andexploresquestionsaboutanyperceivedinterrelationshipbetweenthestudyofimprovisingandotherfacetsofmusicianship.Theresearchersworkasfull-timestaffmembersinaregionalQueenslanduniversity,teachingintoaBachelorofCreativeArtsprogram(BCA).StudentsenteringtheBCAoften

havelittleexperienceofimprovising–manyhavedevelopedtheirmusicianshipinformally,orhavebeentaughtinpedagogicaltraditionsthatdonotfeatureimprovisation.StudentsintheBCAencounteravarietyofmusicsduringthecourseofthedegree,thoughthefocusoftheirmusicpracticedealswithcontemporarypopularmusicsince1950.Asaresult,studentsareoftencalledontoimproviseduringperformances.Inordertosupportthis,Thestudyofimprovisationappearsintwomusictheorycourses.Usingqualitativedatacollectedfromparticipantobservation,questionnaireandunstructuredinterview,theresearchersexaminethestudents’impressionsoftheimprovisationcourse,theirideasabouthowimprovisationplaysaroleintheirpractice,andtheirideasofhowthestudyofimprovisationimpactstheirmusicianship.Aspartofastudyspanningseveralyears,thispaperreportsonearlythemesthatemergefromtheinitialdata,andtheexperiencesoftheresearchers.AdrianMcNeilImprovisationandCreativity:Emergingcross-culturalperspectivesWhilesomeformofimprovisationiscommontomanymusicalsystemsaroundtheworld,itdoesnotnecessarilyfollowthatitisalwaysunderstoodandpractisedinthesameway.Despiteitscurrencyinwiderangeofmusicologicalcontexts,thereisreallynouniversalagreementaboutwhatimprovisationsignifiesinmusicalpractice.Thisisperhapsduetothepracticeandexperienceofimprovisationinanyoneculturalormusicalcontextformingitsownlocaluniverseofunderstanding.AttemptstoapplyanIndianClassicalMusictemplatetoWesternclassicalmusicorviceversaultimatelymissthepoint.Recently,Arabic,PersianandIndianmusiciansandtheoristshavemadeeffortstoreclaimautochthonoustropesofcreativity,orrejecttheterminfavourofextantlocaltermsandconcepts.Thispaperconsiderswhatshapealargermulti-voicedculturalnarrativeonmusicalcreativitymighttake,andtheconsequencesitmighthaveoncurrentandfuturediscoursesonimprovisation.

Session5

AlistairMaCaulayDeleuze’sontologyofdifference,hasoftenbeencomparedtoimprovisation.Refrainsbeingdeterritorializedandreterritorializedwithoutahierarchicalstructureisapplaudedforitsfreedomandpropensitytocreatenewconnectionsbetweendisparatemusicalelements.CentraltoDeleuze’sphilosophyishisconceptofexpressionasathree-placerelation,betweenanexpression,itsontologicallyinseparableexpressedwhichtransformswhatmadetheexpression–the‘expressor’.ThisiskeyforDeleuzebecauseitdescribeswhatoccursintheactualisationofthevirtual–avirtualpotentialityisexpressedinwhatisactualised(someexpression).Thismodelofexpressioniseasilyappliedtoimprovisation.Thereisalinkbetweenimprovisingandexpressing(actualising)andbetweenimprovisationandexpression.Improvising,animprovisercreatesanexpression(improvisation)which

embodiesanexpressed,bydeterritorializingandreterritorializingdisparateelements.Althoughsubjecttointerpretation,whatisexpressedisavirtualpotentialityastheimmanentcauseoftheexpression.However,thereseemstobetwowayswithwhichtotakethisnotionofan‘expressor’.Ontheonehand,itistheimproviser,andwhatisexpressedisthemusicalideathattheimproviserwillbesaidtohaveelaborated–notinthesensethatitwasapre-conceivedmusicalidea,butratherthattheimproviseractualisedthevirtualpotentialityasthecauseoftheimprovisation.Ontheotherhand,whatexpressesitselfintheexpressionaretheforcesofthecosmos,andwhatisexpressedintheexpressionisacertainstateoftheseforces.Atthelimit,ofcourse,theimproviserhim/herselfisaproductoftheforcesofthecosmos,butwestillwanttotalkaboutimprovisationinmusicalasopposedtostrictlymetaphysicaltermswhichyieldsthequestion,howmuchandwhatkindofintentionalityisrequiredtoimprovise.RobertBurkeTransferableKnowledgeinFreeJazzThereismuchliteratureoninteraction,groupimprovisationandorganisationalimprovisationinjazzandhowtheseapproachesrelatetobusinessandeverydaylife.Thispaperwillpositionwithinthisliteraturehowfreejazzdoesnothavetherestrictivenatureoftraditionaljazzorindeedmanyotherformsofimprovisationallowingfordistinctiveapproachestoindeterminacyandmusicalchoices:choicesthatcanareauniquepsychologicalphenomenonandcaninformmanyfacetsofeverydaylife.Further,thispaperwillmakeacaseforunderstandingwhathappenswithinafreejazzimprovisationalsettingandhowitcanactastransferableknowledgetootherart-formsorjustbeing.IplantodevelopGraemeB.WilsonandRaymondA.R.MacDonald’s(2016)modelofinteractivechoicesmadeinfreeimprovisationincombinationwithKeithSawyer’sbook,ExplainingCreativity(2012).Sawyerexplicateshowcreativityworksasamentalprocessinwhichheproposesaneight-stagemodelandthetransfertootherformsofmusicalimprovisationandindeed,decisionswemakeashumanbeings.DaveWilsonWhatisthisthingcalledcollaboration?:EthnographyandtheimplicationsofmusicmakingasresearchInthispaper,Idiscusssomeofthemethodologicalissuesatplaywhenconductingparticipatorycollaborativeethnographicresearch.Drawingonmyworksince2011asanethnographer,composer,performer,andcollaboratorinjazzandelectronicmusicscenesintheRepublicofMacedonia,Igrapplewithconcernsofpositionality,power,andaesthetichierarchiesoftasteastheyinformand,inmanyways,structurethecollaborativerelationshipsthatplayanessentialroleinmyresearch.Overthelastthirtyorfortyyears,scholarsinethnomusicologyandanthropologyhavebeenworkingthroughthewaysthat(andextenttowhich)communities,scenes,andinstitutionsnavigatetheinfluenceofethnographersconductingresearchamongthemasparticipant-observers.Ethnographers,inturn,haverecognizedmanyofthewaysinwhichtheirpresencealwaysplaysaroleintheshapingoftheirdataand,thus,theirresearchfindings.Whenethnographersareinvolvedincollaborativemusicmaking,thesonicrelationsbetweencollaboratorsprovideinsightnotonlyintowhatisbeingnegotiatedinthecollaborativeproductionofsound,butalsointowhythatmattersinaparticularscene.FocusingontwocollaborationsinMacedonia––one

withanelectronicmusicDJandonewithasmallgroupofimprovisingmusicians––Iengagewiththeanthropological/ethnomusicologicalliteratureonvalueasIconsidertheunevenstakesinsuchcollaborationsandthecrookedanduneasypathforcollaborativeethnographersasthey,insteadofretreadingthehighwaysofexploitativecolonisationandimperialism,seektoopenupnewwaysofknowingtheworldthroughsound.

Session6

RogerDeanTowardsaDeepNetImproviserMyaimistodevelopaninteractivereal-timepost-tonalandpost-metricalcomputationalimproviserusingthecategoryofneuralnetstermeddeepnets.Thesearesocalledbecausetheycontainnumerouscomputationalnodesandlayers,ratherthannecessarilybeingsophisticated;thoughtheymaybe!Twomodest-sizedsymboliccorporaofpost-tonalandpost-metricalkeyboardmusichavebeenconstructed,onealgorithmic,theotherimprovised.Deeplearningmodelsofeachhavebeentrainedandlargelyoptimised.Thepurposeistoobtainamodelwithsufficientgeneralisationcapacitythatinresponsetoasmallquantityofseparatefreshinputseedmaterial,itcangenerateoutputsthataredistinctive,ratherthanrecreativeofthelearnedcorporaortheseedmaterial.Thisobjectivehasbeenfirstassessedstatistically,andasjudgedbyk-sampleAnderson-DarlingandCramertests,hasbeenachieved.Musichasbeengeneratedusingtheapproach,andinformaljudgementsplaceitroughlyonaparwithalgorithmicandcomposedmusicinrelatedforms.Tonguedeepincheek,IcalltheresultantgenerativemodelsDeepImproviser.Futureworkwillaimtoenhancethemodelsuchthatitcanbeevaluatedinrelationtoexpression,meaningandutilityinreal-timeperformance.Onelongtermpurposeofthisearlystageworkistoprovideimprovisingtoolsforcreativemusicians,andforeducationalpurposes,expandingimprovisatorypossibilitiesandstimuliforthewidercommunity.Theresearchherecanthuspotentiallybenefitouracademicandcreativepeercommunities,butalsoperhapsappealtoothers.CatHopeSoWhatabouttheWomen?TheimpactofGenderMixonCommunitiesofPracticeFemalesingersfromNinaSimonetoKateCeberanoaresomeofthemostrecognisableandcelebratedjazzperformers.YetacrosstheAustralianjazzindustry,womenaredisturbinglyunder-represented.Therearerelativelyfewfemalejazzcomposersandinstrumentalists.Indeed,manyfemaleinstrumentalistsfeelthattheyneedtobebetterthantheirmalecounterpartstogetgigs.Eventoday,researchshowssomemusiciansbelievecertaininstrumentsaremoresuitedtomenthanwomen.Drums,tromboneandtrumpetareseenas“masculine”andtheflute,clarinetandviolinas“feminine”.Researchalsoshowsthatjazzlargelyconformstomasculinestereotypeswhenitcomestowomenperforminglive.Femalesingershavespokenoffendingoffcommentsabouttheirdressandbodyshape.StudiesintheUSAhavedemonstratedthatmentakemoresolosthanwomeninjazzperformances–yetthemusicalqualityofthesoloschangedverylittleregardlessofgender.Whenplaying,womenarelesslikelytobefoundinjazzleadershiproles.

Improvisationinagroupsettingincludesleading,following,makingspaceandfittinginasthemusicevolves.Butwomeninleadershiproles–bothonandoffthestage–arejudgedmoreharshlythantheirmalepeers.Thispresentationexaminesthecurrentissuessurroundingtheabilityforwomenjazzmusicianstoparticipateequallyincurrentcommunitiesofpractice,andofferssomesuggestionsformakingchange.

Session7–PostGraduateAaronMcCoulloughConvergingStructures:Anexplorationofsyntacticrhythmicorganisationwithinimprovisedpractice.Discourseamongstscholarsexplaininganddescribingmusicalelementsusinglanguageasaconduitisfoundthroughouttheliterature(Patel2003,p.674).Ofallthetermsthatmaybeborrowedfromthedomainoflanguage,however,theterm‘syntax’hasheldcentralfocus,duetoitsabilitytoaddressstructure(Swain1995,p.281).‘Syntax’isusedbythispapertoexplorecognitive,andcreativecomplexitiesencounteredorganisingrhythmicstructureswithinmypracticeasanimprovisingdrum-setartist.Negotiating,manipulating,andorganisingrhythmicstructuresisakeyfeatureofimprovisation,andisconsideredtobeanessentialskillforimprovisers(Hoenig&Weidenmueller2009,p.3).Anoverviewofeducationalliteraturewithinthefieldofjazzdisplaystheemphasisthatmusicianshaveplacedonrhythmicorganisationwithinperformancepracticeinrecenttimes.Asignificantgapisidentifiedintheliterature,however,inregardtobridgingtheprocessesassociatedwithcognitivelyandcreativelynavigatingsyntacticstructureinimprovisedpractice.Thisproposedpaperwillusemyartisticdrum-setpracticeincoordinationwithempiricalresearchandtheorisingthatlinkslanguageandmusicvia‘syntax’toadvanceknowledge,andclosetheobservablegapinunderstandingregardingcognitiveandcreativeprocesses.Theuseoforiginalrecordingsanddevelopedpracticedmaterialswillbeexaminedtodetailthedevelopment,andevolutionof‘syntax’withinmypractice.Complexitiesconfrontedwithinmypractice/researchwillaimtoprovideplausiblesolutionsforimprovisersinnavigatingstructuresintheirpractice.GeraldMarkoSONICFREEDOM:DifferentiatedmuscularvoicecontrolincontextofjazzvoicequalitiesandimprovisationThispaperinvestigatesthebenefitsandlimitationsofdifferentiatedmuscularvoicecontrolinjazzvoicequalitiesandimprovisationthroughaperformativeinvestigation.Historically,researchandevidencebasedpracticebyvoicescientistssuchasTitze,Sundberg,EstillorFant,continuetoallowdeeperinsightintohowthevoiceworksandhowwecanachieveimprovedcontroloverthesonicoutcome.Isthereabenefittogainingdifferentiated

muscularcontroloverthevoice,doesitapplyincontextofjazzvoicequalitiesandimprovisationanddoesitenablethejazzvocalistofthe21stCenturytocaterforvocalchallengesacrossalljazzgenresandimprovisation?Thispaperwillarticulateanappliedscientificmodelofthevoice(Titze,Sundberg,Estilletal)bydemonstratingindependentcontroloverthepartsofthevocalmechanismrelevanttothisstudy,namelylarynx,tongue,velum,falsevocalfolds,aryepiglotticsphincterandtruevocalfoldsbody-cover.Subsequently,evidencefortruevocalfoldbody-covercontrolwillbepresentedviaendoscopyvideofootageonthesamepitch,arpeggiosacrossthepassagioandtheopeninglineof“ChegadeSaudade"(Jobim)indifferentvoicequality.Finally,thediscussedanatomicalparameterswillbeappliedliveon“ChegadeSaudade"acrossthewholeformineightdifferentvoicequalities,using5oftheunifiedanatomicaldescriptors,anewsuggestedparameterandvideo-endoscopyreference.SimonPettyTasmania’sJazzIdentity;AcknowledgingTasmania’sUniqueContributiontoAustralianJazzHistoryAustralianjazzhasdevelopedexponentiallysinceitsbeginningattheturnofthetwentiethcentury.Now,inthetwenty-firstcentury,Australianjazzanditsmusiciansareassophisticated,respectedandimitatedasanyAmericanorEuropeanmodels.JazzscholarssuchasAndrewBisset(1979),BruceJohnson(1987,2000,2003,2004)andJohnWhiteoak(1999,2009,2016)havestudiedAustralianjazzchronology,butAustralianjazzcanandshouldalsobeunderstoodasafunctionofplace.Thespreadofanyculture,especiallyinternationally,canbereferredtoasaculturaldiaspora:uniquelocalcharacteristicsandadoptionofmusicalideascombinetocreateheterogeneousformsofexpressioninspecificplacesandsettings.InAustralia’sjazzdevelopments,itisTasmaniathatpresentsasasignificantlocaleinhavingcreatedindividualanddistinctidentitieswhenmeasuredagainstotherAustralianjazzscenes.TasmanianjazzandjazzmusicianshaveforalongtimebeenoverlookedinmainlanddiscourseaboutAustralianjazz;however,Tasmaniahascontributedtosomuchofthecountry’sjazzhistory.AlargefactorinthisphenomenonisTasmania’sisolation,whichhasdeprivedaudiencesofcontactwithotherAustralianjazzactivity.ItisthisplusothercircumstancesthathaveledtoseveraldistinctivecharacteristicsinTasmanianjazz.Thispaperexplorestheideaofa‘Tasmanianjazzidentity’,thedifferentdemographyinTasmania’snorthandsouthhasresultedinparticularpreponderantjazzstylesandcharacteristics.AfurthercircumstancearisinginpartfromdemographyinTasmaniaistheimportanceofbandsratherthanindividuals.ThemostimportantofthesebandswerethosethatwereformedaroundHobart’sIanPearceandTomPickering,andLaunceston’sTedHerronandBillBrowne.Tovaryingdegrees,alloftheseconstituentscombinetoengenderastyleofjazzexpression,whichisdistinctiveincomparisontootherAustralianurbanjazzscenes.

Session8JonathanZionHowcanresearchintomusicalinterplayinJazzexpandpractitioners’reachformeaningintheirmusicmaking?ThispaperexploresDeleuzeandGuattari’sconceptof‘becoming’asavehicletorepresentandtranslatetheineffableexperienceofagulfofaffectsthatoccursduringpeakmomentsinjazzperformance.Astateof‘becoming’isonewhereweexpandbeyondreflectivelyunderstoodlimitsofourselvesto‘become-other’(Deleuze,Guattarietal.2013).Forthistooccurinensembleinterplay,tacitagreementsandethicalguidelinesneedtobeformedtodeterminehowsharedgoalsaretobeachieved.Whilstthepositioningofplayersinacommunityofpracticeisbackgroundedbytheirethicalperformancevalues(LaveandWenger1991),thefinerdetailsoftheseagreementsandguidelinesarenegotiatedinperformanceitselfandevolveovertimewiththemusicandmusicmakingprocesses.Findingwaystounpackandrepresentexpressedmeaningsproducedthroughamultiplicityofchoices,reflections,ecologiesandintuits,isbysomeconsideredaroleembeddedinthemusicitself.Inthepresenceofthisconviction,Iarguethatreconceptualisingperformancepracticethroughresearchcanofferpractitionersnewdiagramsofmusicalassemblagesperceivedthroughtheordersofhumanexperiencethatareconditionedinanorderofthingsinthemselves.(Grosz2017p5)SoWhat?Ifresearchinquiresintotheprocessesandpotentialitiesofmusicmaking,whatismusic’sultimateinquiry?Ashumans,wesharethepossessionofconsciousnessthatisconditionedinanawarenessofourownimpendingdeath,areturntothatfromwhichweevolved,theearthandthecosmos.Collaborativeperformancewithotherhumansservesasexplorationofpotentialityinourliving.Reachingintoaspatio-temporalfieldofintensitythatisperformance,wecan‘become’beyondwhatweareinanimmanenceofeverythingforallitsmeaningsallatonce.BonnieGreenAdashthroughmemorylane:SnapshotsofthehistoryofimprovisationintheWesternartmusictraditionPriortothe20thcentury,pianoteachingwithintheWesternartmusictraditionembracedimprovisationasateachingandlearningtool.Historically,improvisationwasusedasawaytofeaturemusicians’imaginationsandtheiruniqueinterpretationsofmusicalscores.Intheteachingstudio,itassistedstudentsinlearningtherulesof,andgainingfluencyin,themusicallanguage.Itwouldpreparestudentstoplayrepertoire,andwouldassisttheminacquiringknowledgeofcorrectfingeringanddevelopingtechnicalskill.Researchconductedinthe21stcenturyhasextendeduponthesebenefitstoincludedevelopingcreativethinkingskills(e.g.flexibility,divergentthinkingandoriginality),enhancingtrustandcommunicationbetweenmusicians,increasingstudents'enjoymentofmusic,andfacilitatingindividualcreativeexpressionandself-actualisation.Improvisationhowever,isoftensidelinedin

today’sone-to-onepianoteachingstudio.Reasonsforthisincludethestrongholdoftraditionofteachingonlythenotatedmusicthatbecamecommoninthe19thcentury,andadherencetoteachingonlytherequirementsofpopularexaminationsyllabi.Potentialreasonsalsoincludeteachers’lackofself-efficacyinteachingimprovisationduetotheirownlearningexperiencewhereimprovisationmayhavebeenabsent.ThispresentationwilltracethehistoryofimprovisationwithintheWesternartmusictradition,highlightingtheimportantmomentsintimethatledtothediminishinguseofimprovisationasateachingandlearningtoolwithintheone-to-onepianoteachingstudio.AlthoughthispresentationfocusesonthehistoryofimprovisationwithintheWesternartmusictradition,severaloftheelementstobediscussedwillberelevanttothestudyandpracticeofjazzimprovisation,particularlytherelationshipbetweenimprovisation,creativityandself-expression.JordanMurrayIndicesofStyleinGroupImprovisation:AnApproachtoGroupImprovisedMusicHowdomusiciansengageingroupimprovisationsthatarenotpremeditatedinanywaypriortoperformance?Whataretheprocessesinformingthissocialactivity?Thesequestionsareinvestigatedinapractice-basedresearchprojectthatcontendsthatimprovisedsounds,inthecontextofunstructuredgroupimprovisations,operateassigns.Itisarguablethatthesemusicalsignalsembodyintersubjectiveinformation,therebyassistingparticipants’negotiationandorganisationofcollectivelyimprovisedutterances.Recentresearchintogroupcreativity,arguesforasemioticviewbyfocusingonCharlesSandersPeirce’sconceptofindexicalityastheprimaryinteractionalmechanismforimprovisinggroups.ThisresearchbuildsonPeirce’sworktoexaminehowindicesofstyle,meaningthecharacteristicsofanimprovisedgesturethatalludetoaparticularstyleofmusic,caninforminformgroupimprovisationcommonlyreferredtoasfree,spontaneousorextemporal.Forexample,anatonalwalkingbasslinemaybeindexicaloffreejazzandthuselicitresponsesreflectingthefreejazzstyle.However,improvisersaremorethanlikelytohavecontrastinginterpretationsofvarioussoundsandmaybenefitfromanapproachthatexploreshowthesemusicalsignscanbecollectivelynegotiated.Thisresearchinvestigatesthenotionthatthroughindexingaparticularstyle(orstyles)ofmusic,certainconstraintsaregeneratedwithinacontextthatguidesthecreationofimprovisedmaterials.Throughundertakingaseriesofrehearsalexercisesthatfocusontheexploitationoftheconstraintsgeneratedbyindicesofstyle,thisresearchprojectseekstoexamineifsuchexercisescanenhancegroupintersubjectivityandthusdevelopinnovativeperformativepathwaysintheperformanceofunstructuredgroupimprovisedmusic.

Session9FionaBurnettSoWhatIsTime?:AnexaminationofthetemporalelementinmusicimprovisationanditsimpactonperformanceandresearchThis paper examines different aspects of time experienced by the performer and considers how the passage, experience and interpretation of time can vary depending upon the contextualisation of this element within improvisation. Here the following research questions are considered: Howdoesourexperienceofthedurationofimprovisationchangewithintherealisationandperformanceofmusicandaretheseaspectsbestrepresentedbycurrentmethodsofmusicalanalysisandtranscription,orcanothermethodsofanalysisbedevelopedorborrowedtobestdeterminethesuccessoroutcomesofthetemporalelementinimprovisation?Coulditbedeterminedthatwithinthisartisticprocesstheperceptionoftimeisnotridgedandwhathappenstotimewithintheprocessofimprovisation?Cantimebeconsideredandormeasuredbymethodsotherthanrhythmicnotation,timefeelorduration?Whatthenhappenstomusicwhichiscompromisedinitsrepresentationuponthestaveorfallsoutsidethestave?Howdoestherelianceoftechnologytorecordmusicchangeourexperienceandperceptionsoftime,andthemusicaleventthathastakenplace,andwhataretheprocessesinvolvedwithinthepracticeofimprovisedmusicthatcanchangeupontheanalysisofrecordedperformances?Temporalconcepts,rhythmicnotation,phrasingandinterpretationofimprovisedmusicperformanceareconsideredandinvestigatedandtheirpotentialimpactuponfurtherresearchintotheexperienceoftime,howitisperceived,describedanddemonstratedvianotationandothermeans,withimplicationsforartisticresearchandcreativecommunitiesbothwithinandoutsidetheacademy.HannahReardon-Smith SympoiesisinFreeImprovisation

Sympoiesisisasimpleword;itmeans‘making-with.’...Sympoiesisisawordpropertocomplex,dynamic,responsive,situated,historicalsystems.Itisawordforworlding-with,incompany.Sympoiesisenfoldsautopoiesisandgenerativelyunfurlsandextendsit.DonnaHaraway,StayingwiththeTrouble(58).

Improvisingisalways‘making-with’.Theverynatureofcreating,moment-to-moment,requiresinteractionwiththespaceweareinandtheothercritterswithwhomwearesharingit.Evenwhenplayingasoloimprovisationweareindialoguewiththeenvironment,thelisteners,theinstrumentanditsidiosyncrasies,thebody(anditsco-inhabitants)anditsidiosyncrasies,aswellasourownhistories,musicalandotherwise.BruceEllisBensongoessofarastorecognisethisdialogueasanongoingimprovisationthatexistsalsoinpre-composed,notatedmusic.Whenweimprovisemusicalongsideothers,however,theseinteractionsareexponentiallyexpanded.Suchanenvironmentcanberichandgenerative,leadingtorapiddevelopmentsandunexpectedchangesofdirection,oritcanbe

overwhelming,leadingmostoftentoareactionarywithdrawalintothesafetyofrote-practicedmaterials–self-protectiveegoismandindividualism.Whenweareopentotherisksofco-creation,thereisthepossibilityofsympoiesis.Wemightgrowintoourcollaboratorsoverthecourseofanimprovisation,involvingoneanotherintoacomplexnetworkofdynamicresponsiveness,ratherthanachievinggrowthsolelythroughtheautopoieticevolvingofthepracticeroom.ThinkingfreeimprovisationintermsofsympoiesisasdefinedbyHaraway–complexnetworksofecologicalinteractionbetweenforcesknownandunknown,presentandintangible–givesusarichandfertilehumusfromwhichtogrowideasoffreedomandmusicking.Inthispresentation,IwilloutlinethepossibilitiesforthinkingfreeimprovisationusingthewritingofDonnaHaraway,andexploretheeffectthisresearchhashadinmyownimprovisationpractice.RobinRyanIntegratingtheMusical,theNatural,andtheImprovised:DavidRothenbergandMultispeciesMusicking Nature’sresilienceasabasinofattractionforimprovisingmusiciansissalientlyillustratedinmultispeciesmusicking:mysteriousreal-timecompositioncomprisingsound,environment,andsharedco-presencebetweenspecies.Impliedmoralandphilosophicalquestionshavevexedtheidiosyncraticpracticetodate,deflectingattentionawayfromthemusic’sownworthasarefreshingandresilientecologicalproductofhuman/more-than-humaninteraction.Tocounteracttheseperceptions,thepaperrevolvesaroundthejazzclarinetistDavidRothenberg(b.1962)puttinghisimprovisatoryskillstoworkinavarietyoffields,scenesandsettings.Basedonlong-termresearchcorrespondencewithRothenbergandhisgenerousauthorisationofthispaper,Idemonstratehowhisperformances,books,recordingsandfilmsprovideclearontologicalsyntax:birds,insects,andwhalesmodelaseamlessexpressionofecosysteminopenstageforthehumandevelopmentofwidelisteningpractice,sensitivitytosoundscape,intuitivemusicianship,extendedinstrumentaltechnique,andtransformationsofwildlifecommunitysoundsintoreal-timeelectronicmusic.Notably,theperformer’srecentseriesofclarinetencounterswithlivenightingales(Lusciniamegarhynchos)intheparksofBerlinculminatedinthealbumBerlinBülbül.Howcanindeterminatemusicbemeasured,andhowdoanti-institutionalartformsimpactcreativecommunities?Arguably,itisinimprovisatorymusicalperformancethatrelationshipsbetweenhumansandtheirenvironmentsmostcogentlyenrichecology.Multispeciesmusickingleadsustoappreciatethelargeracousticentityinwhichthehealthierthehabitat,themore‘musical’itsnaturalpolyphony.Broadsocialandscientificanalysesarerequiredtoprogressunderstandingofmusicalinteractionwithmore-than-humanlife.Paradoxically,thefutureofmultispeciesmusickingmaylieintechnology’ssonicpotentialforportrayinghealthyanddegradedecosystems.

Session10AndrewButtJazzupNorthDownUnder:Aninquiryintojazzperformance,cultureandidentitythroughcollaborativerecitalsinQueensland,AustraliaThisstudyinmusicperformanceinvestigatestheinfluenceofcultureandidentityonthejazzperformanceoutcomesoftheauthorthroughcollaborativerecitalsinQueensland,Australia.Theresearchtookplaceinthreephases,correlatingwithmajorjazzperformancesproducedoverathree-yeartimeframe;the2015BrisbaneInternationalJazzFestival,2016JazzUpNorthandthe2017BrisbaneInternationalJazzFestival.Therelationshipbetweenjazz,jazzculture,andmusicianidentitywithinjazzculturehasbeenanimportantcomponentofjazzresearchsincethemid-twentiethcentury.FromanAustralianperspective,avarietyofstudieshavebeenundertakenregardingtheorigins,cultureandperformanceofAustralianjazzandjazzidentity.WhileframedasinvestigationsintoAustralianjazz,thisresearchexhibitsanoverwhelmingfocusonartistsfromAustralia’slargestpopulationcentressuggestingtheneedforresearchfocusedonotherregionsofAustralia.Thisinvestigationfocusesonuniqueelementsandfactorsthatcontributetotheculture,identityandjazzperformanceinQueensland.ThroughaseriesoffocusgroupinterviewswithavarietyofcollaborativegroupsdirectlyinvolvedintheseeventsthemesemergedinregardstotheevolutionofQueenslandjazzculturefromthe1940sthroughtothepresent.EmerginginfluencesincludedmusicalcollaborationwithAmericantroopsduringtheSecondWorldWarthroughjamsessionculture,theimpactofabundantperformanceopportunitiesbroughtaboutbytourismandWorldExpoaswellasthedevelopmentandevolutionoftertiaryjazzeducationoverthelast30years.ThestudyexploredtherelationshipoftheseinfluencesonselectedperformancesthroughtheanalysisofimprovisedsolosincontrastingenvironmentswithprominentmembersoftheQueenslandjazzcommunity.Otherfactorsthatarosethroughthisprojectincludedthedeclineinfundingforjazzsupportinfrastructureandhowthisdirectlyimpactedontherehearsalandperformanceoutcomesembeddedinthisproject.AleishaWardGoingtoTownintheBigJam:'Official'JamSessionsinthe1940sandthedevelopmentoftheNewZealandjazzcommunityDuringthe1940sNewZealandjazzfans(bothindividualsandclubs)begantoorganisejamsessions,usuallyatthehomeofafanormusician,atwhichthefanswouldbeaudienceandwitnesstowhatwasusuallyaprivatemusiciansaffair.ReportedinlocaljazzmagazinesSwing!andJukebox:NewZealand'sSwingMagazine,andinswingclubnewslettersas'officialjamsessions'thesesessionswerestructuredaroundthemusiciansjamming,andfanbasedactivities,suchaslisteningtoanddiscussingthelatestjazzrecords,andlectures('talks'inlocal1940sparlance)onjazzrelatedtopics.Arrangingandorganisingjamsessionsinthismannerappearstobeunusualinotherjazzscenes/cultures,andgivesusaninsightintothechangingstructureoftheNewZealandjazzsceneatapointwherejazzwasmoving

awayfromdancemusictolisteningmusic,andtheimportanceofimprovisationtothatchange.InNewZealandthese'officialjamsessions'weresignificanttothedevelopmentofthelocaljazzculturebecausetheycontributedtotheinteraction,appreciation,andmusicalcomprehensionbetweenmusiciansandfanscreatingasenseofcommunity.Thispaperinvestigatesthedevelopmentofthe'officialjamsessions',howtheyoperated,theattractionofimprovisationforfans,andtheparticipationbyfansandmusicians.The'official'sessionsplayedanimportantroleinpromotingjazzasalistening(asopposedtodancing)musicinNewZealandduringthe1940s,advancingallstylesofjazztothefanaudience,includingthenewstyleofbe-bop,andincreasingthefans’understandingoftheroleimprovisationplayedinthecreationoflocaljazz.These‘officialjamsessions’arepositionedinthebroaderNewZealandjazzscene,examiningtherolethattheyplayedinmusician/faninteractions,andinbuildingtheNewZealandjazzcommunityandculture.JohnWhiteoakAGood'BlackMusic'Story?BlackAmericanStarsinAustralianMusicalEntertainmentBefore'Jazz'Fragmentaryreportsandimageryofaseeminglynewformofmusicalentertainmentcalled'jazz'or'jass'begantoreachAustralasiainlate1917,includingthesilentfilm,AnEvenBreakfeaturinga'Negrojazzband'scenerequiringlocalisedsilentcinemamusicalaccompaniment.Bymid-1918,avaudevilleactbilledas'Australia'sFirstJazzBand'appearedattheNationalTheatre,SydneyandthereontoMelbourne,AdelaideandBrisbane.Yet,thehistoryofjazz-relatedmusicinAustraliaarguablybeginsatleast80yearsearlierwhenwhitecolonialblackfaceminstrelsbegantopresentimprovisatory'Negro'musicanddanceactslike'JumpJimCrow'or'ZipCoon',followedadecadelaterbytouringblackface(white)minstreltroupeswithear-playingminstrel'orchestras'(typically)ofbanjo,fiddle,bonesandtambourineandfeaturingperformancebehaviourandimprovisatorypracticesthatevenmoreexplicitlyanticipatedthoseofjazz.Twoofmyrecentwritings,'WhiteRoots,GreyFlowers?MultipleConceptionsofEarlyAustralian‘Jazz’andPre-‘Jazz’History'and'DemonsofDiscordDownUnder:"JumpJimCrow"and"Australia’sFirstJazzBand"'servetodemonstratethatthepre-jazzpredecessorsor'roots'ofjazzinAustralia(suchasminstrelsy,cakewalkandragtimemusicanddancing)wereoverwhelminglyassociatedwithvisitingandresidentwhiteartists.Thispaper,however,employsprimary,secondaryandrarearchivalsourcestodemonstratethattherewerealsoasignificantnumberofvisitingandresidentAfrican-AmericanartistsinAustraliabetween1878andAustralia'sFirstJazzBand,includingworld-famousandinfluentialfigures(or'stars')ofblackminstrelsy,ragtimeand,seemingly,earlyjazz.Thepaperdiscussesconflictingperceptionsofthesenon-whiteartistsbyaxenophobicwhitecolonialpopulationthat,characteristically,hadlittleregardforindigenousblackAustralians.Itgaugesthejazz-relevantmusicalinfluenceofblackminstrelsy,'slaveplantation'acts,'jubilee'andragtimesinging(anddance)and,inparticular,touringblackbrassbandsandtheatreorchestramusicuponAustralianpre-jazzpopularentertainment.Morespecifically,itsuggeststhatmusicthatmightbeheardtodayasfeaturingsignificantcharacteristicsofearlyblackjazzwasperformedinAustraliabytheseblackbandsandorchestraswellbeforetheterm'jazz'conveyedanythinginpopularentertainment.

Session11TimWillisandPaulWilliamsonListeningtoCommunitiesofPractice‘Communitiesofpractice’referstogroupsofpeoplewhoshareapassionforsomethingtheydoandlearnhowtodoitbetterastheyinteractregularly.Withinjazzmusic,communitiesofpracticecanresultinacollectivelearningofapproachesforstudyingimprovisationandnewformsofexpression.Thispaperaimstoexplorehowthesecommunitieshavethepotentialtochangebothhowjazzmusiciansthinkaboutstudiopracticeandconceptssuchasauralskilldevelopment,andthemethodsadoptedforlearningnewmaterial.ThepaperpresentsfindingsfromaqualitativestudywithinWillis’PhDthatexaminedthecommunityofpracticeof17high-levelAustralianimprovisinginstrumentalists.Thestudyexaminedhowthesemusiciansengagedinmentalpracticeinordertodeveloptheabilitytomentallyimprovise,whileawayfromtheirgiveninstruments.Withinthestudy,mentalpracticewasunderstoodasthedeliberateimaginingofagiventaskthatisnormallyphysicalinnature,anditalsoreferredtoactivitiesdirectedtowardsconstructingthecognitivefacultiesthatmakeitpossibletomentallypractice.

Theresearchshowedthatthedevelopmentofmentalimprovisationskillswasahighlyvaluedcomponentofmanyofthemusicians’creativepractices.Formany,itrepresentedasignificantapproachthattheyengagedwithduringtheirstudiopracticethatsubsequentlycontributedtoimprovingtheirartisticoutput.Indeed,manyofthoseinterviewedhadputconsiderableeffortintoinvestigatinghowsuchmentalskillsmightbestreamlined,andhaddevelopedapproachesforaidingthegenerationofmusicalauditoryimageryandmusicalsoundsheardintheirminds.

Despitebeingcommonlyusedbyjazzpractitioners,thedevelopmentofmentalmusicalimprovisationskillsviamentalpracticehasrarelybeenstudiedindepthorincorporatedinteachingpedagogieswithintertiaryjazzmusiceducation.Whilstresearchundertakenintheacademycanfeedbackintocommunitiesofpractice,theauthorscontendthattheoppositeisalsotrue–communitiesofpracticecaninformcurriculumstructure,pedagogicalmethodsanddirectionsforfuturejazzresearchwithintertiaryinstitutions.

AndySuggExplainingandAdvocating:WritingaboutJazzandImprovisedMusicThetoolsofcreativeliteraturearewords.Yetthissameliteraturebenefitsfromotherkindsofwords—thoseofliterarycriticism—explainingitandmakingitmoreaccessible(thereisofcourseavastindustryofthestuff).Howmuchmoreso,then,wouldjazzandimprovisedmusic,whosetoolsareabstractsounds,benefitfromsomegoodwordstoexplainandadvancethem?Wecanriffonthiscomparisonalittlefurtherbynotingthegreatliterarypractitioners—Baudelaire,T.S.EliotorJulianBarnes,forexample—whohavealsoproducedliterarycriticismofgreatexplanatorypower.Orthenot-so-greatpractitioner,butpowerfulcritic,TerryEagleton,whose1983workLiteraryTheorywassomethingofaminorpublishing

sensation!PartofEagleton’ssuccess,thenandnow,liesinthefactthatheexplainstheculturalcontextofliteratureandthelinkagesbetweentheminwaysthatresonatestronglywithreaders.Comparehim,say,toRogerScruton,thephilosopherofmusic,whobarelyarticulatesanyculturalconceptatallandwhothusleaveshisotherwisetremendousmusicalacuitydisconnectedfromreallife.It’sthisconnectionwithreallifethatmatters.We,music’spractitioners,knowthisintuitivelybecausethisconnectionisourlife.Butothersdonot.So,jazzandimprovisedmusichavemuchtogainfromgoodwordsthatexplainandchampionthisconnection.Whatmightthesewordslooklike?InthispresentationIwanttotakeastabatansweringthisquestionbyofferingaverytendentiousvalorisationofanenduringpieceofjazztechnology:thesaxophone.Iwanttoarguethat,fromitsmediocrebeginnings,Sax’squirky19thcenturyinventionwentontovoicetheexperienceofmodernlifebetterthanjustaboutanyothermusicalinstrument.Andthatabigdriverinthisfeatwastheplaceitcametofindinthequirkystylisticinventionofthe20thcentury:jazz.LaurenIstvandity“TradingFours”:AtranslationaljazzheritageprojectusingcompositionandperformanceAustraliahasarichheritageofjazzcultureandmusic-making,thesignificanceofwhichcontinuestoberevealedthroughhistoricalandethnographicresearchwithinjazzstudies.Thetranslationofthisresearchtoawidercommunityofpracticeisoftenproblematicdespiteitsrelevancetocurrentpracticeanditsbasisforcommunityidentity.ThispaperwilldiscussthepremiseofanongoingprojectinQueenslandthatseekstomarrythefindingsofajazzheritageprojectwithcomposersandperformersofthecurrentgeneration.Thisproject,titled‘TradingFours’,pilotsamethodforthecreationofadialoguebetweenpastandpresent,betweenheritageresearchandthelocalcommunityofpractice.Theunderlyingconceptsofpersonalandcollectivememoryarebroughttoactionintheverycreationofmusic,whichrespondstotherecordedrecollectionsofolderparticipantswhodescribejazzactivitiesinQueenslandsincethelate1940s.Thispaperwilldescribetheprocesses,predictionsandcurrentobservationsoftheworkinprogress,withtheaimtocriticallyassessthebenefitsandgapsintheprojectinlightofcurrentscholarshipandcommunityoutreachpractices.

Session12

PhilSandfordWillie‘TheLion’McIntyreandtheDevelopmentofAustralianTraditionalJazzThispaperoutlinessomefeaturesoftheplayingandsingingofWillie‘TheLion’McIntyre(1919-1987).Basedonaforthcomingmusicalbiographythatusesinterviewsandarchivalresearch,thepapershowsthatMcIntyrewasauniquefigureontheearlyAustralianjazz

sceneasaboogieandstridepianoplayerandsingerwithdeeprootsintheblues.Hewasinfluencedbyawiderangeofpianists,includingJellyRollMorton,FatsWallerandJimmyYancey,buthedevelopedhisownplayingandsingingstyle.HewasunusualindevelopingfacilitywithbothboogieandstrideplayingandwasimportantinthedevelopmentoftraditionaljazzinMelbourneinthelate1930sand1940s.AbriefexaminationofMcIntyre’schildhoodinBenallaandearlyyearsinMelbourneisfollowingbyadiscussionofhisexperiencesplayingattheDrCarverClubinBrisbanein1944.The1946-1949periodisasignificantoneinthedevelopmentofAustraliansocietyandthepaperoutlinesMcIntyre’sroleintheculturaldevelopmentsinMelbourneatthistimeasamemberoftheTonyNewsteadbandandatalaterperiodwiththePortseaTrio.Humourwasanintegralpartofhisperformances,whichoftenincludedclarinettistGeorgeTack.ThisreflectedtheinfluenceofLeroy‘Stuff’Smith,SlimGaillardandSlamStewartandAustralianvaudevilleand,ashappenedwithFatsWaller,sometimesledtoanunder-estimationofhismusicalcontribution.ThreebriefaudioclipswillbeplayedtoillustratevariousaspectsofWillie’splaying:DrCarverStomp,BluesinC#Minor,whichfeaturesaCubanbasspatternderivedfromJellyRollMortonandJimmyYancey,and‘Oh,LadyBeGood’,whichshowsaCountBasieinfluenceandthedevelopmentofMcIntyre’smainstreamplaying.PhillipJohnstonJazzin’TheSilents:JazzandImprovisedMusicinContemporaryScoresforSilentFilmThevernacularjazzlanguagesignificantlyenteredfilmscoringinthe1950swiththeworkofSilverAgecomposersAlexNorth,LeithStevens,ElmerBernstein,andHenryMancini,andofjazzcomposersDukeEllington,JohnLewisandMilesDavis.Ithascontinuedtoevolve,andtosheditsoriginalassociationswithpoverty,sex,drugsandworking-classsettings–aswellasitsearlyroleasdiegeticmusic–traversingthestylisticrangefromtradjazztotheavant-garde.RecentfilmssuchasBirdman(2014),Whiplash(2014)andLaLaLand(2016)continuetodemonstratetherelevanceofjazztofilmscoring.Buttheparadoxinherentintheuseofjazzinfilmmusichasalwaysbeenthatjazzisessentiallyanimprovisationalform,andfilmmusicrequiresmeticulouscorrelationbetweensoundandimage.However,theproliferationofcontemporaryscoresforsilentfilmhasopenedthedoorstotheuseofimprovisedmusicinfilmscoring.Contemporarysilentfilmscoresbymusician/composersasdiverseasBillFrisell,DonByron,JohnZorn,andKenVandermarkhavefeaturedimprovisedmusicasthefoundationformuchoralloftheirscores.Thelargeamountofscoretime,thefreedomfromtheoversightofalivingdirector,andtheinfluenceof60sindependentcinemaandmultimedia/happenings,haveprovidedanenvironmentinwhichscoresthatmakesignificantuseofimprovisationtakemaximumadvantageofthespontaneityandgroupcreativityofimprovisedmusicaspartofakineticliveperformanceevent.Jazz/filmmusiccomposerPhillipJohnstonusesexamplesfrombothhisownsilentfilmscoresandthoseofotherstoillustratestrategiesinwhichjazzimprovisationandimprovisedmusiccanfunctioneffectivelyastoolsforthecontemporarysilentfilmscorecomposer.

AboutthePresentersInorderofpresentation

BarryLongisanAssociateProfessorandChairoftheMusicDepartmentatBucknellUniversitywhereheteachesinterdisciplinarycourseworkinjazzanddirectsthejazzensemble.ThefirsttoreceiveadoctoraldegreeinJazzStudiesfromtheEastmanSchoolofMusic,hehasperformedwithsuchartistsasKennyWheeler,BobBrookmeyer,JohnClayton,ElianeElias,BennyCarter,andJimMcNeely.ArecentfellowatHarvard'sW.E.B.DuBoisInstitute,hiscurrentprojectsincluderesearchonjazzandactivismduringtheCivilRightsmovementandtheperformativeFreedomintheAirproject.TimO’DwyerisanAustraliansaxophonist,improviserandcomposer,andhasbeenalecturerandHeadattheSchoolofContemporaryMusic,LASALLECollegeoftheArts,Singapore,since2004.Overthepast25years,Timhasbeenaprolificperformerandcollaboratortraversingjazz,improvisedandexperimentalmusic,contemporaryclassicalmusicandcrossdisciplinaryprojects,andregularlyperformsthroughoutAustralia,AsiaandEurope.TimiscurrentlyamemberoftwoofthemostprestigiousandestablishedcontemporarymusicensemblesinAustralia:ELISIONEnsemble(since1994)andTheAustralianArtOrchestra.Hisongoingprojectsinclude:hishybridsolosaxophoneprojectMETASAX;theinternationalcollaborativecomposingproject:TheFold,withensemblescurrentlybasedinCologneandSingapore;andhissoundpaintingensemble:ErikSatay&TheKampongArkestrabasedinSingapore.TimholdsaPhDincompositionandphilosophyfromtheQueenslandUniversityofTechnology,andcontinuestoresearchonthenexusbetweenthephilosophyofGillesDeleuze,compositionandimprovisation.AlisterSpenceisrecognizedasoneofAustralia’smostoriginal,distinctivecontemporaryjazzpianists/composers.Withaperformingandcomposingcareerspanningmorethan25years,hiswide-rangingtalentshaveledhimtoperformwithandcomposeforsomeoftheworld’smostrespectedartistsintheareasofcontemporarymusic,improvisation,filmandtheatre.Inrecentyearshehasdevotedhisenergytowritingandperformingwithhistrio,TheAlisterSpenceTriowithLloydSwanton(theNecks)ondoublebassandTobyHall(formerlywithpianist,MikeNock)drumsandglockenspiel.ThiscelebratedgrouphasrecordedsixCDs(RufusRecordsandAlisterSpenceMusic[ASM])andhasagrowinginternationalreputationJohnMackeyisarenownedsaxophonist,composerandeducator.HehasbeenlecturingattheANUSchoolofMusicsinceJanuary2000.JohnwasnominatedfortheFreedmanJazzPrizein2001andhasrecentlybeeninvitedintotheHigherEducationAcademyintheUKasaSeniorFellowandisexcitedaboutarecentco-inventionwiththePhysicsandEngineeringDepartmentatANU.HeiscurrentlyhalfwaythroughhisPhDbasedatECU,Perth,WA.HistopicisresearchingExtendedApplicationsofthePentatonicScaleandproposinganewmodalconcept.Johnhasperformedwithmanyartistsinlcuding:RayCharles,B.B.King,DameKiriTekanawa,KurtElling,KendrickScott,NatAdderley,EddieHenderson,RoyHargrove,RedRodney,LewTabackin,ToshikoAkiyoshi,KennyWerner,BobMintzer,RichieCole,JohnnyGriffin,AlCohn,WoodyHerman,RalphMoore,MarkLevine,DonRader,RonnieScott,JimMcNeely,KennyWerner,MikeNock.

JohhanesLuebbers:Winnerofthe2011‘YoungAustralianJazzArtistoftheYear’(AustralianJazz‘Bell’Awards)andthe2011‘JazzWorkoftheYear’(APRA/AMCArtMusicAwards),JohannesLuebbersisoneofAustralia’sleadingjazzcomposers.AgraduateoftheWestAustralianAcademyofPerformingArts(WAAPA),LuebbersisalsoacurrentPhDcandidateresearchingwithinjazzcompositionandcollaborativepractice.Hehasreleasedtwoalbumswithhisaward-winningensembletheJohannesLuebbersDectetandanEPwithexperimentaltrioArtefactAgency.Heisactiveasacomposerandarrangerincontemporarypopularmusicandmusictheatre,composingthescorefortherecentAustralianmusical‘Melba’.PreviouslylecturingattheWestAustralianAcademyofPerformingArtsandtheANUSchoolofMusic,Canberra,LuebbersiscurrentlyActingCompositionConvenorattheSirZelmanCowenSchoolofMusic,MonashUniversity,Melbourne.Heisan‘AssociateArtist’withtheAustralianMusicCentre.JamesMcLeanisaresearcherandimprovisingdrummer,basedinMelbourne,Australia.JamescompletedhisPhDthroughtheUniversityofSydneyin2018,researchingtheapplicationofembodiedmusiccognitiontheorytothedevelopmentofasolodrumsetpractice;tworecordingsfromthisresearch,CounterClockwork(2015)andOscillator(2018),havebeenreleased.Jamesisanactiveperformer,co-leadingensemblesincludingAllTalk,BlindSpot,andLightlyToasted,aswellasfeaturingonrecordingsbytheEugeneBallQuartet,ThePaulWilliamsonQuintet,andtheJoeO’ConnorTrio.In2016,JameswasawardedtheprestigiousFreedmanJazzFellowship,becomingthefirstdrummertowintheaward.BruceJohnson:FormerlyProfessorofEnglishattheUniversityofNSW,BruceJohnsoncurrentlyholdshonoraryprofessorshipsinDepartmentsincludingMusic,CulturalHistory,CommunicationsandMediainanumberofuniversitiesincludingGlasgow,Turku(Finland)andUTSinAustralia.Hehaslongbeenactiveasajazzmusician,award-winningbroadcasterandrecordproducer.HehasactedasgovernmentadvisoronmusicpolicyincludingasamemberoftheNSWMusicBoard.Heco-foundedtheInternationalInstituteforPopularCultureinFinland,andisontheeditorialboardsofsomehalfdozenoftheworld’sleadingacademicmusicjournals.Hisacademicpublicationsnumberseveralhundred,includingauthor/editorofoveradozenbooks,amongthemostrecentofwhichareonjazzandtotalitarianism,andsound,memoryandspace.Heiscurrentlypreparingtwobooks,oneontheglobaljazzdiaspora,theotheronSovietculturaldiplomacyduringthe‘Thaw’ofthelate1950s.AndrysOnsmanisamusiceducatorandperformer.HighlightsofhisteachingincludeworkingwithyoungdisenfranchisedAboriginalchildren,allowingthemtoperformonstagesaroundthecountry.Asacommentatoronmusic,Andrys’workhasappearedinthemainstreammediaincludingnewspapersandmagazines,aswellasinawidearrayofsocialmedia,includingCDlinernotesandprogramnotes.Academically,hisresearchoutputintheareaofartisticresearchandnon-literallanguagecommunicationissubstantial:accordingtoGoogleScholar,hisacademicpapershavebeencitedmorethan1000times.HehasPhDsinCognitivePsychologyandinAboriginalStudies.

GlenHodgesiscoordinatorofcontemporaryguitarattheUniversityofTasmania.Inanextendedtertiarycareerhehasreceivedanumberofawardsforteaching,programdesignandmanagement.Hesupervisespostgraduatestudentsonstudiesrangingfromperformanceandimprovisationtoanalysisandcomposition.HispublicationsincludeafeaturearticleintheIAJEJournalandworksonmusiceducationandresearch.HeisendorsedbyYamahaGuitarsandHancockArchtopsandhasperformedwithsomeofAustralia'sfinestjazzmusicians.Hehasalsobeeninvolvedinchurchmusicforsome35yearsacrossanumberofliturgicalstyles.BenPhipps:BenrecentlycompletedhisPhDattheUniversityofNewSouthWalesinethnomusicologyandjazzstudies.HecurrentlyteachesinthemusicdepartmentatUNSW.Hisprimaryresearchinterestistheimpactofculturalhybridityonmusicalpracticeandthedevelopmentofassociatedsocialmeanings,particularlyinmusicsinvolvingimprovisation.Otherareasofresearchinclude:doublebassperformancepracticeandmusiceducation.HelenRussellisabassist,vocalist,arranger,musicaldirectorandeducatorbasedinBrisbane.Hercareerhasencompassedmanystylesofmusicperformance–musictheatre,countrygospel,pop,classical–whilstalwayshavingjazzatitscore.ShehastaughtsessionallyformanyyearsinjazzprogramsattheQueenslandConservatoriumandtheJazzMusicInstitute,andsince2015hasbeenafull-timeLecturerinContemporaryMusicattheUniversityofSouthernQueensland.HerMastersofMusicResearchcentredonhermethodforteachingauralandtheoryskillsviaacappellasinging.BruceWoodwardisaLecturerinMusicintheSchoolofArtsandCommunicationattheUniversityofSouthernQueensland,Australia.Hisresearchinterestslieintheareasofguitarcultures,contemporarymusicperformance,andcontemporarymusictheoryandanalysis.Inadditiontoteachingandresearch,Brucemaintainsaprofileasaguitarist,performingandrecordinginjazzandcontemporarymusiccontexts.AdrianMcNeilisanethnomusicologistandseniorlectureratMonashUniversityspecialisinginHindustanimusic,withwideranginginterestsandjournalpublicationsinimprovisation,thepoliticaleconomyofmusic,culturalanthropology,thephilosophyofmusicandpracticebasedresearch.HismanypublicationsonthepoliticalandculturalhistoryofHindustanimusic,andhisbookontheculturalhistoryofthesarodtraditionarewellknowninthefield.HehasspentanumberofyearsinIndiaasanARCpost-doctoralfellowatJadavpurUniversity,andasavisitingfellowattheCentreforStudiesinSocialSciences,Kolkata.AdrianalsohasundergoneextensivetraininginHindustanimusicandhasyearsofinternationalperformanceexperienceandcommercialrecordingsonthesarod,bothintraditionalandininterculturalensembles.RobertBurke(MonashUniversityandAssociateProfessor)establishedJazzandPopularmusicatMonashUniversityin2002.From2011-2014heservedasheadattheSirZelmanCowenSchoolofMusic(MonashUniversity).Animprovisingmusician,Robhasperformedandcomposedonover300CDsandhastouredextensivelythroughoutAustralia,Asia,Europe,BrazilandtheUSA.Hehasalsoreleased12CDsunderhisownnameperforming/recordingwithseminalinternationaljazzartistssuchasDaveDouglas,EnricoRava,GeorgeLewis,KennyWerner,HermetoPascoal,GeorgeGarzone,BenMonder,Mark

HeliasandAustralianmusiciansPaulGrabowskyandTonyGould.Rob’sareaofresearchisfocussedinpractice-basedartisticresearch(improvisation/jazz).Recentbook:coeditedwithAndrysOnsmanPerspectivesinArtisticResearchinMusic(Lexington)andtobepublishedlate2018(co-writtenAnsdrysOnsman)ExperimentationinJazz:ChasingIdeas(Routledge)DaveWilsonholdsapositionasLecturerinMusicattheNewZealandSchoolofMusic,TeKōkī,atVictoriaUniversityofWellington.HisworkfocusesonjazzandpopularmusicinSoutheasternEuropeandexploreshowmusicandsoundrelatetonationalism,belonging,intangibleculturalheritage,theconstructionofsocialspace,andthenatureofscenes.HereceivedhisPhDinethnomusicologyfromUCLA,andhisresearchhasbeensupportedbytheACLS,theAmericanCouncilsofInternationalEducation,andtheHerbAlpertFoundation.HisworkhasbeenpublishedinYearbookforTraditionalMusic,EthnomusicologyReview,andCommoningEthnography,andhistextbookGatewaystoUnderstandingMusic,co-authoredwithTimothyRice,willbepublishedin2019byRoutledge.HereleasedthealbumsOntheFacePlace(2016)andInPassing(2017)onSkyDeckMusic,andhisduoimprovisation-basedalbumSLANTwithpianistRichardValituttoisforthcomingin2019onpfMENTUM.RogerDeanisacomposer/improviser,andaresearchprofessorinmusiccognition/computationattheMARCSInstitute,WesternSydneyUniversity.HefoundedanddirectstheensembleaustraLYSIS,whichhasappearedin30countries.Hehasperformedasbassist,pianist,pianoaccompanistandlaptopcomputerartistinmanycontexts,fromtheAcademyofAncientMusictotheLondonSinfonietta,andfromGrahamCollierMusic(leadingEuropeanjazzgroup)toduettingwithDerekBaileyandEvanParker.About70commercialrecordingsandnumerousonlinedigitalintermediapiecesrepresenthiscreativework,andhehaspublishedmorethan300journalarticles.Currentresearchconcernsimprovisationandcomputationalcreativity,affect,rolesofacousticintensityandtimbre,andrhythmgenerationandperception.Priorto2007,hewasafullprofessorofbiochemistryintheUK,foundationCEO/DirectoroftheHeartResearchInstitute,Sydney,researchingonatherosclerosis,andthenVice-ChancellorandPresidentoftheUniversityofCanberra.CatHopeisanartistandacademicwithanactiveprofileasacomposer,soundartist,soloistandperformerinmusicgroupsinternationally.Sheisthedirectoroftheaward-winningDecibelnewmusicensemble,aChurchillandCivitellaRanieriFellow.Herrecentresearchhasexaminedgenderbalanceinthemusicindustry.Catistheco-authorof‘DigitalArts-AnintroductiontoNewMedia’(Bloomsbury,2014),andcurrentlyProfessorofMusicandHeadofschoolattheZelmanCowenSchoolofMusicatMonashUniversity.

AaronMcCoulloughisadrummer/composer/educatorbasedinMelbourne,Australia.HeholdsaBachelorofMusicwithHonours,aMastersofEducation,andiscurrentlyaDoctoralCandidate(PhD).TheabilitytoadapttovariousmusicalcontextsisadistinguishingfeatureofAaron'sskillset.Thisisrecognisedbyhisdemandasanaccompanistwithavarietyofrenownedartists,someofwhichinclude:TonyGould,BrentonFoster,JohannesLuebbers,andHughStuckey.Thesemusicalencountershaveledtonumerousinternational/nationalappearances,andrecordingprojectsthathavebeenrecognisedwithindustryawards.Aaronregularlyperformsandcomposeshisoriginalmusic,whichcanbeheardonhistworeleases:'PortraitofThoughts'(released2013),and'Provenience'(released2018).EachoftheserecordingsfeatureNewYork,andMelbournebasedmusicians.Asaneducator/music

researcherAaronhasgivenpresentations/workshopsattheAustralianNationalUniversity,andUniversityofTasmania.

GeraldMarkoholdsthecontinuedpositionofScholarlyTeachingFellow,Jazz&PopularStudies,atMonashUniversityaswellasa1stclasshonorsdegree(BMusJazz),anadv.diplomainlinguistics,apostgrad.degreeinperformingartsandthehighestteachingqualificationinEstillVoiceTrainingteachingsingersandspeechpathologistsinEurope/Australasia.Hewasaguestspeakeratthe2ndInternationaljazzvoiceconferenceinHelsinki(2017),thesymposiumforPerformingArts&HealthcareinSydney(2014),the7thEstillWorldVoiceSymposiuminMelbourne(2015)andhasbeeninvitedtopresentplenaryworkshopsatthe12thInternationalJazzResearchConferenceinGraz(2018)andtheconferenceoftheAssociationofPopularMusicEducationinNashville(US)onthetopicofappliedvoicescienceandvocalpedagogy.GeraldiscurrentlypreparingtoenrollintoaninterdisciplinaryPhDin2018.SimonPettyisthecoordinatorofinstrumentalmusicatTrinityLutheranCollegeontheGoldCoast.EarninghisBachelorofMusicinjazztrumpetperformanceandinstrumentalmusicpedagogyfromtheQueenslandConservatorium,GriffithUniversity.SimonhasgoneontocompleteaGraduateDiplomaofEducationandaGraduateCertificateinMusicStudiesonAustralianjazzhistoryandcomposition.HiscurrentPhDresearchconsidersthehistoryofjazzinregionalAustraliancontexts.From2017,SimonalsoworksasasessionallectureratGriffithUniversity,lecturinginmusiceducationatundergraduateandpostgraduatelevelsintheSchoolofEducationandProfessionalStudies.Simonpursuesavigorousperformanceprofile,havingperformedwithmanyofAustralia'sleadingbigbands,jazzensemblesandorchestras.Hisprofessionalinstrumentalandconductingactivitiesinclude;liveradioandtelevisionperformances,nationalbroadcasts,musicals,andcommercialrecordingsessions.Healsocontinuesabusyscheduleasamusiceducator,adjudicator,andclinician,andsustainsmanyfreelanceperformancesandrecordingswithanumberofbandsandprojectsthroughoutAustralia.Simonholdsadistinguishedreputationasaperformerandeducatorandcontributesregularlytothefieldofmusiceducationandperformancestudies.Heishighlyregardedforhismusicalexperience,andinspirationalteachingstyle.JonathanZionisabassist/composerandPhDcandidateatMonashUniversity.GraduatingfromVCAin1992,JonathanhasbeenperforminginAustraliaandoverseaswithmanyartistsincludingIanMoss,PeteMurray,Lior,DeborahConaway.In2016,hetouredwithPaulGrabowskyandRobertBourketoJapanperformingatTokyoJazzFestival,performedatWangarattaJazzFestivalwiththeLukeHowardTrioandtheAntonDeleccaQuartetandisappearingattheMelbourneInternationalJazzFestivalwiththeLukeHowardTrio.Jonathanco-foundedtheLukeHowardTrioin2008.TheensemblehasproducedthreealbumsandbecomeafeatureoftheMelbourneJazzscene.Usingapracticeresearchmethodology,Jonathan’slongitudinalstudyintotheevolutionofmusicallanguageinajazztrioproposesthatongoingperformanceinteractioniscentraltostimulatingnewmusicalgrowthandengagement.

BonnieGreeniscurrentlyinhersecondyearofcompletingherDoctorofPhilosophy(PhD)attheUniversityofSouthernQueensland,Toowoomba.ShehasrecentlybeenconfirmedasaPhDcandidateandwillbeginherdatacollectioninJuly,2018.Bonnie’sresearchisfocusedoninvestigatingpianoteachers’experiencesofusingimprovisationactivitieswithintheirone-to-oneprivateteachingstudios.OutsideofherPhDstudies,Bonnieenjoyscomposing,playinginmusicalsandperformingbothasasoloistandinherduoTwoofDiamonds.ShealsoenjoysboardgamesandteachingherselfhowtocookwiththehelpofGoogle.AftercompletingherPhDstudies,Bonnieaspirestocontinueinacademiaandinrefiningherowncreativepractice.Herinterestslieintheareasofmusiceducationandcreativepedagogy—thecombinationofcreativeteaching,creativelearningandteachingforcreativity—andsheaspirestocontinueresearchinbothoftheseareas.

JordanMurrayhasestablishedacareerinmanydiverseareasofthemusicindustryinAustralia.HehasbeenoneofMelbourne’sfirstcalltrombonistsoverthepast15yearsaswellascomposingandarrangingforawidevarietyofsituations.Throughouthiscareer,JordanhasalwaysbeenpassionateaboutmusiceducationwhichhasledtohispositionasLecturerinJazzStudiesatMonashUniversity.OriginallyagraduatefromWAAPA,JordanstudiedatBerkleeCollegeofMusicwithHalCrook,PhilWilsonandHerbPomeroy.Asafreelancemusicianperformingliveconcertsandvariousmusicfestivals,Jordan’sperformancecareeralsoincludesworkintelevision,musicaltheatreandstudiorecording.

FionaBurnettisamusician/composer/ensembleleader/educatorandspecialistonthesopranosaxophone.FionahasrecentlysubmittedherPhDThesisatTheUniversityofMelbournetitled“IdentifyingandDevelopingthePersonalVoiceinImprovisedMusic.”Fionahasledensemblessincetheearly1990sperformingatmajorartsandmusicfestivalsinAustraliaandabroad.Shehasbeenanadvocateforwomeninimprovisedmusic,foundingandco-leadingtheall-femalejazzQuintetMorganafrom1992-1998anddevelopingensemblesforyoungwomenfortheMelbourneWomen’sJazzFestival2001-2004.ShehasbeenamemberoftheMusicBoardoftheAustralianCouncilandhasreleasednineCDsasaleader,fourontheABClabel,FionahasbeennominatedforAPRAandAustralianMusicAwards,afinalistintheFreedmanFellowshipandtherecipientofnumerousgrantsfromtheAustraliaCouncil,ArtsVictoriaandPlayingAustralia.HannahReardon-Smith(Australia)isanexperimentalflutist,improviser,composer,conductor,andcurator.SheisafoundingmemberofartmusicensembleKupka’sPiano,improvisationtrioRogueThree,andelectroacousticduoRichard&Linda.ShehasperformedininternationalfestivalsincludingManiFESTE(Paris),IMD(Darmstadt,DE),SPOR(Aarhus,DK),KunstenfestivaldesArts(Brussels),BIFEM(Bendigo),TotallyHugeNewMusicFestival(Perth),andtheQueenslandMusicFestival(Brisbane).Currently,HannahisaPhDcandidateattheQueenslandConservatorium,GriffithUniversity,underthesupervisionofAssocProfVanessaTomlinsonandDrLouiseDenson.Herprojectistoexploreaqueer-feministthinkingoffreeimprovisation,andtofeaturetheworkandvoicesofwomen,trans,andnon-binaryfolkpracticinginthefield.Recipientofthe2010JamesCarsonFlutePrize,Hannahfreelancesasawriter,performer,researchassistant,anddisabilitysupportworker.Sheblogsatstayandmakekin.wordpress.comandhannahreardonsmith.com.

RobinRyanconnectsabroadloveofmusictoaninterestinAustralia’snaturalenvironments.FollowingherstudiesinmusicattheUniversityofWesternAustraliaandtheUniversityofWashington,Seattle,USA,shewasawardedanMA(1992)andPhD(1999)fromMonashUniversity,Melbourne.Robin’sresearchineco-andethno-musicologyisevidencedbyarticlesonthehistoryandpracticeofAboriginalgumleafplayingpublishedthroughheraffiliationswithMonashUniversity;MacquarieUniversity;and,currently,theWesternAustralianAcademyofPerformingArts,EdithCowanUniversity.Inthefieldofjazz,shehasresearchedsixarticlesonsingerJudyJacques,withanotherforthcominginPopularMusic,StarsandStardom(ANUPress,2018).OtherrecentworkappearsinCurrentDirectionsinEcomusicology:Music,Culture,Nature(Routledge);CollaborativeEthnomusicology;TheJournalofMusicResearchOnline;EnvironmentalHumanities;Societies;Context:AJournalofMusicResearch;M/CJournal;PerfectBeat;andSoundScripts. AndrewButtisaperformer,composerandeducatorwhohasbeenactiveintheAustralianmusicindustryoverthelast30years.HehasbeenprominentontheQueensland’sjazzscene,winningthebestjazzworkcategoryatthe2013/14QueenslandMusicAwardsandbeingshortlistedasafinalistonmultipleoccasions.OtheraccoladesincludeaChurchillFellowshipandperformingasajazzsoloistwiththeQueenslandSymphonyOrchestra.AndrewButtTrio+performsinavarietyofformatsandhasfeaturedatfestivalsandvenuesincludingtheBrisbanePowerhouse,JMILive,BennettsLane,ParisCattheValleyJazzFestivalandtheBrisbaneInternationalJazzFestival.AndrewhasbeenmentoredbyadiverserangeofartistsincludingGeorgeGarzone,ChrisCheek,BillMcHenryandBranfordMarsalis.Hehastouredextensivelyasaperformer,educatoranddirectorofensemblesthroughoutAustraliaandinternationallytoIndonesia,NewZealand,China,EuropeandNorthAmerica.

AleishaWardisthe2017DouglasLilburnResearchFellowandarecipientofthe2018MinistryofCultureandHeritageNewZealandHistoryResearchTrustawardinvestigatingtheJazzAgeinNewZealand.ShewasoneofthefirstgraduatesoftheBachelorofMusic(JazzPerformance)attheUniversityofAuckland,holdsaMastersofArtsdegreeinJazzHistoryandResearchfromRutgersUniversity(2006),andaPhDinMusicfromtheUniversityofAucklandwhereherthesiswasonjazzinNewZealand1920-1955.Aleishaisanaward-winningwriter,andisalsoafreelanceeditor,andlecturerinmusichistory.ShewritesaboutjazzinNewZealandforanumberofpublicationsincludingaudioculture.co.nzandNewZealandMusician,andonherownblogNZJazz(nzjazz.wordpress.com).

JohnWhiteoakisanAdjunctProfessorintheSirZelmanCowenSchoolofMusic,MonashUniversity.Hespecializesinthehistoryofearly(1830s-1970s)popularmusicanddanceinAustralia,includingminstrelsy,ragtime,jazzandLatin.HeauthoredthefirsthistoryofimprovisatorymusicinAustralia(PlayingAdLib,1999),wasco-generaleditorandthemajorcontributortotheCurrencyCompaniontoMusicandDanceinAustralia(2003)andhasalsoproducednumerouspublicationsonHispanicandcontinentalEuropeanmusicanddance(seewww.ausmdr.com).JoeO’ConnorisamongAustralia’smostaccomplishedimprovisingpianistsandcomposers.Hismusicskirtstheboundariesofjazzandartmusicinbothimprovisedandnotateddisciplines.HehaswontheprestigiousNationalJazzAward(2013),theBellAwardforYoungAustralianJazzMusicianoftheYear(2014),theNationalBigBandCompositionCompetition(2011),andwasthePBSYoungElderofJazzin2016.Healsoperformedasafinalistinthe

2016FreedmanJazzFellowship.JoeholdsaBachelorofMusicwithfirstclasshonoursfromtheQueenslandConservatoriumandaPhDinmusicperformancefromMonashUniversity,whereheresearchedwaysthatRuthCrawfordSeeger’sapproachtodissonantcounterpointcaninformjazzcompositionandimprovisation.Joe’srecentworksincludeThePastinMyPresent(2017),achambercompositionforArtsCentreMelbourne’s5x5x5initiative,andPartialDisclosure,whichwascommissionedbytheAustralianCreativeMusicEnsemble(ACME)fortheirinauguralperformanceatMelbourneFestival2017.Joe’sStringQuartet,Vignettes,willbepremieredbyPennyQuartetattheMelbourneRecitalCentreinSeptember.TimWillisisajazzguitarist,composerandresearcher.HestudiedmusicperformanceattheAustralianNationalUniversityunderthetutelageofMikePriceandGeorgeGolla.In2017TimcompletedhisPhDstudiesatMonashUniversity.Hisproject,TheDevelopmentofManipulativeAuralSkillsinImprovisingMusiciansviaMentalPracticeduringPerformancePreparation,examinedhowimprovisingmusiciansdeveloptheabilitytomentallyimprovise,whileawayfromtheinstrument,andhowdoingsoaffectstheirapproachtoimprovisation.HighlightsfromTim’sperformingCareerincludeperformancesattheVannesInternationalJazzFestivalin2012,MelbourneInternationalJazzFestivalin2013aswellasmultipleperformancesatJazzclubssuchasDucDesLombards(Paris)andMelbourne’sownBennettsLane,theParisCatandtheUptownJazzCafé.Timhasbeenrecipientofawardsincludingthe2012PBS106.9YoungElderofJazzCommission,theAustralianPostgraduateAwardandthe2014YamahaPostgraduateResearchScholarshipinPerformance.

PaulWilliamson:Trumpeter,composerandeducator,PaulWilliamson,hasestablishedareputationforproducingdistinctiverecordingsofoutstandingensembleperformances.HehasreleasedelevenCD’sasaleader,andhasperformedatfestivalsandvenuesintheUnitedStates,Europe,Asia,andAustraliawithnumerousjazzgreats,includingCharlieHaden,CarlaBley,EddiePalmieri,TomaszStańko,KennyWerner,JohnAbercrombie,HermetoPascoal,AaronGoldberg,BillCarothers,DaveLiebman,ReggieWashington,PaulWertico,DjangoBates,NasheetWaitsandMarkHelias.In2014WilliamsonwasinvitedbyDaveDouglastoperformattheFestivalforNewTrumpetMusic(FONT)inNewYorkCitywherehepremieredaprogramofnewcompositions.WilliamsonistheHonourscoordinatorandlecturerinjazzstudiesattheSirZelmanCowenSchoolofMusicatMonashUniversity.AndySuggisasaxophonistwhoperformsregularlythroughoutAustraliaandinternationally.Hefeaturesonnumerousrecordingsandleadsanensemblethatspecialisesinafusionofjazzandpopularstyles.Suggisalsoamusicologist,attachedtotheUniversityofMelbourneandtheSirZelmanCowenSchoolofMusic,MonashUniversity.HehaslecturedattheManhattanSchoolofMusic,theWorldSaxophoneCongressandelsewhere.SugghaswrittenforTheTimesLiterarySupplement,theInternationalSocietyforJazzResearch(Graz),andMusicForum,thejournaloftheMusicCouncilofAustralia.HisbookTheInfluenceofJohnColtraneonImprovisingSaxophonists,hasbeenpraisedbyleadingUSjazzscholar,ProfDavidDemsey,describingitas“ananalyticalmasterpiece.”SuggwasaconsultantforChasingTrane:TheJohnColtraneDocumentary,thefirstfeature

lengthfilmofitskind,directedbyJohnScheinfeldand“CrewNeckProductions”(LosAngeles).LaurenIstvandityisaPostdoctoralResearchFellowatQueenslandConservatoriumGriffithUniversityinBrisbane,Australia.Herexpertiseliesintheareasofmusicheritageandmemorystudies.HercurrentresearchonQueenslandjazzheritageisconductedinconjunctionwiththeJohnOxleyLibraryFellowship,StateLibraryofQueenslandofwhichshewastherecipientin2017.Shehaspublishedacrosspopularmusic,heritage,andculturalstudiesplatforms,andhastwobooksforthcoming:hermonographTheLifetimeSoundtrack:MusicandAutobiographicalMemory(Equinox,expectedlate2018),andtheco-editedcollectionRoutledgeHandbooktoPopularMusicHistoryandHeritage(withSarahBakerandCatherineStrong,Routledge,expectedearly2018).

PhilSandfordisanindependentjazzresearcherlivinginSydney.HehascontributedtoAustralianJazz.net.PhillipJohnstonhasintertwinedlivesasajazzmusician,composerandacademic.Heisbestknownastheco-leaderofTheMicroscopicSeptetandFast‘N’Bulbous.HisfilmscoresincludeKathrynMillard’sShockRoom(2015),HenryBean’sNoise(2008),PaulMazursky’sFaithful(1996),PhilipHaas’TheMusicofChance(1993)&DorisDörrie’sGeld(1989).Hehasbeencreatingoriginalscoresforsilentfilmssince1993,beginningwithTodBrowning’sTheUnknown(1927).HecompletedhisPhDattheUniversityofNewcastlein2015,andcurrentlyteachesattheAustralianInstituteofMusic.