Compositions

  • Whale Fall (2021) (in-progress) for flute, violin, cello, electronic bass, synthesizer, percussion, and dream recall recordings.
    Performance is on the 4 July 2021 with Ensemble New Babylon, Bremen, Germany

Whale Fall is an experimental music work about the phenomenon of ‘whale falls’. A story of death nourishing life. A journey which sees a decaying, polluted whale sink to the ocean depths; with its body providing sustenance for sea creatures for decades to come. In recent times, scientists have noticed that the pitch of the whale songs has downshifted the equivalent of three white keys on a piano. Theories attribute this to migration patterns due to climate change, as there is more carbon dioxide in the water, higher temperatures, more acidity, and more icebergs cracking beneath the water surface. The music will explore variations of falling tones, low- frequencies, and detuned archival whale recordings. Whales themselves are also swallowing more pollution, and the whale fall is subsequently contaminating the deepest parts of our oceans. As Australian writer Rebecca Giggs notes, pollution has devastating effects on whales, who are said to be the most polluted animals on the planet. The whale is literally our own personal landfill. The music will reflect on the plight of the whale, and the whale’s more complex auditory processing and capacity for higher frequency hearing. I’m interested in exploring and imagining the deeper subjective experiences of how a whale might listen and perceive the world. The music will be melded with poetry, stories, and recordings of people recalling dreams about particular themes like falling, being underwater, drowning, and the sea, to link them to the subjective experiences of whales. Anonymous dream stories will be taken from the COVID on MIND and Pandemic Dreams research studies.

  • The Glass of Imagination (2020) is a website containing video samples of singing wine glasses and bells ringing, tuned to different microtonal pitches, to be performed on multiple devices.

  • Dream Recorder (2020) for a dreamt sub-contrabass recorder (part of the imaginary sound art series)
  • Rush tones  (2020) for one or more accordions along a river stream (part of the imaginary sound art series)
  • The Three Ecologies (2020) (in-progress) for horn, oboe, bassoon and electronics
  • I am a hollow round tube (2020) (in-progress) for flute and flute-like objects
  • New Possibilities for Misunderstanding (2019-20) for microtonal horn, tape, preparations, and theatrics
  • Ontogeny (2019) for piccolo and electronic playback
  • Miniatures (2018) for piano, flute, cello, percussion, with electronics and field recordings [website]
  • Serpentine (2017) for erhu and percussion 7′ [multimedia]

PhD Portfolio:

  • A Sense of Space (2015/16) for flute, nylon guitar, and soprano with percussion 10′
  • Lines of Fragmentation (2015) for trumpet, trombone and two percussionists 6’03”
  • Hyperbodies (2015)  for robot piano 10’29” [MIDI]
  • Animal (2015) for violin, cello, percussion, keyboard, and choir with video score 10′ [multimedia]
  • Copy-Make (2015) Interactive video installation, made as part of ‘Composition Beyond Music’, in Graz, Austria.
  • Memory Tape (2015) – for cello, trombone, and recorded media 11′
  • Mapping Australia (2014) – for piano and electronics with video score 7′ [multimedia]
  • Undulations (2014) – for two soprano saxophones 6’09”

Independent Collaboration

  • Temporal Planes (2013) – Electronic Media [Recording] – Performed and Recorded by Entoptic Ensemble – 17’04″
  • Everything Painted on the Veil (2012) – Album by Entoptic

Masters of Arts (Honours) Portfolio:

  • Finding Kensho (2012) – for chamber orchestra – Premiered by the Melbourne Symphony Orchestra 8’15″
  • Antibiosis (2011) – for chamber ensemble and recorded media 10’25″
  • The Expansive Water (2010) – for chamber orchestra 7’36″Biography(