Arts Music Unit
Chair
Matthew Hindson AM, MMus Melb BMUs (Hons) PhD
Professor/Pro-Dean
Professor Anne Boyd AM, HonDUniv DPhil, York BA
Emeritus Professor
Peter Sculthorpe OBE AO, MusBac, HonDMus HonDLitt Tas HonDLitt Sus HonDMus
Professor in Historical Musicology and Senior Research Fellow
Richard Charteris BA, MA, PhD Canterbury, FAHA, FRHistS, ATCL
Associate Professor
Winsome Evans OAM BEM BMus Hons Sydney
Lecturers
Charles Fairchild PhD SUNY Buffalo
Cecilia Sun DMA Eastman, PhD California LA
Senior Research Fellow
Linda Barwick BA PhD Flin
Honorary Associate
Nicholas Routley PhD Cambridge
L-R Professor Anne Boyd, Dr Matthew Hindson, Associate Professor Nicholas Routley, Dr Cecilia Sun, Dr Charles Fairchild.
Chair
Matthew Hindson AM, MMus Melb, BMUs (Hons) PhD
Matthew Hindson is a composer and Senior Lecturer in Composition & Media Technology at the Sydney Conservatorium of Music. His research interests include Australian music, music for video games (particularly for the Nintendo Entertainment System) and musical composition with Apple’s GarageBand.
Hindson studied composition at the Universities of Sydney and Melbourne with Peter Sculthorpe, Eric Gross, Brenton Broadstock and Ross Edwards and his compositional influences range from classicism to the heavy metal band Metallica. One of the most distinctive composers of his generation, Hindson’s pieces are performed regularly both nationally and internationally. He has worked in close collaboration with the Sydney Symphony Orchestra and the Sydney Youth Orchestra; has been featured extensively by Musica Viva Australia, the Vale of Glamorgan Festival in Wales and Ballett Schindowski in Germany; and was the Queensland Orchestra's Composer in Residence for 2005.
Hindson has co-authored a composition text for senior high school and early tertiary music students called Composition Toolbox, and is Artistic Director of the Aurora Festival of New Music.
For more information see www.hindson.com.au
Professor/Pro-Dean
Professor Anne Boyd AM, HonDUniv DPhil, York BA
Anne Boyd, Chair of the Arts Music unit at the Sydney Conservatorium of Music, is one of Australia’s most distinguished composers and music educators.
Her research focuses on the influences of landscape and Asian music upon Australian composers. Recent publications include: ‘Landscape, Spirit and Music – An Australian Story’ in The Soundscapes of Australia (ed. Fiona Richards, Ashgate: 2007) and ‘Dreaming Voices: Australia and Japan’ in Intercultural Music: Creation and Interpretation (ed. Macarthur, Crossman and Morelos, Australian Music Centre: 2006).
In 1990, Boyd became the first Australian and the first woman to be appointed Professor of Music at the University of Sydney. Prior to that Boyd was the Foundation Head of the Department of Music at the University of Hong Kong from 1981–90 and taught at the University of Sussex from 1972–77.
Professor Boyd’s music is published by Faber Music in London and the University of York Music Press. Two solo CDs of her music are Meditations on a Chinese Character (ABC Classics, 1997) and Crossing a Bridge of Dreams (Tall Poppies, 2000). Her most recently commissioned works include Gate of Water for the ‘Kammer Ensemble’; Angry Earth, a concerto for shakuhachi (Riley Lee) and the Sydney Youth Orchestra and Ex Deo Lux for the 2007 SSO Fellows.
Professor Boyd was honoured with an AM in the Order of Australia in 1996 and an HonDUniv from York for her services to composition and music education in 2003. In 2005 she received the Distinguished Services to Australian Music Award at the APRA-AMC Classical Music Awards ceremony.
AMC Website
Emeritus Professor
Emeritus Professor Peter Sculthorpe OBE AO, MusBac, HonDMus, HonDLitt Tas; HonDLitt, Sus HonDMus
Peter Sculthorpe is Australia's best-known and most-loved composer. He was born in Launceston, Tasmania, in 1929, and was educated at Launceston Church Grammar School, the University of Melbourne and Wadham College, Oxford.
He was a Composer-in-Residence at Yale University while visiting the USA as a Harkness Fellow from 1966–67, a Visiting Professor at the University of Sussex in 1972–73, and was appointed to the University of Sydney as a Reader in Music in the late 1960s.
Emeritus Professor Sculthorpe's diverse oeuvre of compositions spans most musical forms, and relates easily to the unique social climate and physical features of Australia. His works are performed regularly and recorded worldwide, and have been greatly influenced by Asian music, especially that of Japan and Indonesia.
Emeritus Professor Sculthorpe's outstanding contributions to music are documented in his memoirs, in biographies by Michael Hannan and Deborah Hayes, and in the Sculthorpe Papers which were acquired by the National Library of Australia in 2002. Graeme Skinner’s biography of him will be available later in 2007.
A major work, Requiem for SATB Chorus, Orchestra & Solo Didjeridu, was premiered in 2004 in celebration of his 75th birthday. Among recent works is an orchestral suite, Captain Quiros, written for the NSW Conservatorium Orchestra. He has just completed another book and is at present writing his seventeenth string quartet.
Professor in Historical Musicology and Senior Research Fellow
Richard Charteris BA, MA, PhD Canterbury, FAHA, FRHistS, ATCL
Richard Charteris is one of Australia's best-known musicologists whose many publications span major musicological studies, monographical critical editions and refereed articles published in Europe, the UK and the USA. Professor Charteris was elected a Fellow of the Australian Academy of the Humanities in 1990, and was later elected a Fellow of the Royal Historical Society, London, and received the prestigious Australian Centenary Medal in recognition of his distinguished contribution to musicology. He is also a Governor of the Dolmetsch Foundation in England and a member of editorial boards in the UK and USA. Professor Charteris has uncovered a vast quantity of new works and sources and edited the complete works of Giovanni Gabrieli, Alfonso Ferrabosco the Elder, Domenico Maria Ferrabosco, Giovanni Bassano, all in the Corpus Mensurabilis Musicae series published by the American Institute of Musicology (AIM), and the complete instrumental music of John Coprario and Thomas Lupo. Additionally he has published critical editions of music by Johann Christian Bach, Giovanni Croce, Richard Dering, Andrea Gabrieli, Hans Leo Hassler, John Hingeston and Claudio Monteverdi. His recent monographs include Giovanni Gabrieli: A Thematic Catalogue of His Music… (Pendragon, 1996), Adam Gumpelzhaimer's Little-Known Score-Books in Berlin and Krakow (AIM/Haenssler, 1996), Newly Discovered Music Manuscripts from the Private Collection of Emil Bohn (AIM/Haenssler, 1999), and An Annotated Catalogue of the Music Manuscripts in the Folger Shakespeare Library, Washington, D.C. (Pendragon, 2005). Further details appear in the entry about him in the online New Grove Dictionary of Music and Musicians.
Associate Professor
Winsome Evans OAM BEM BMus Hons Sydney
Associate Professor Winsome Evans is the founder and director of the Renaissance Players and has been one of Australia’s busiest professional harpsichordists performing with all of Sydney’s professional orchestras and choirs.
Evans’ interests as both a scholar and performer span many musical styles from the mediæval to the modern. In addition to over 20 LPs and CDs previously released, she currently has a further six CDs and a 150-page edition completed and awaiting international release by Celestial Harmonies. These are her two-CD recordings plus score of her transcription for harpsichord of Johann Sebastian Bach's Six Sonatas and Partitas for solo violin without bass, as well as two CDs of the 14th century Llibre Vermell and two CDs of 13th century Spanish Cantigas de Santa Maria.
In 1966, Evans founded the Renaissance Players, a performance group with a unique repertoire of music, poetry, comedy and dance from the mediæval period to the present day. Her love of performing on period instruments developed further through her formation of Sydney Baroque in 1975 and the Baroque Guild in 1984. Evans also performed with the Australian Chamber Orchestra from its inception until 1989. In addition to the harpsichord Evans plays some 30 other musical instruments.
Her current library of c. 3000 pieces contains music she has composed and arranged for radio, television, films, talking books, CDs, the Renaissance Players, as well as for the renaissance and baroque stage dramas and operas which she has directed. Honours for her services to music include a British Empire Medal and the New South Wales Jaycees’ Award in 1980, and an Order of Australia Medal in 1985.
Evans is a composition graduate of the department and its longest-standing member of staff. Her teaching covers a versatile range of topics in composition, performance and musicology.
Lecturers
Charles Fairchild PhD SUNY Buffalo
Charles Fairchild teaches units in popular music, music and media, and the globalisation of popular culture. His primary interests are the changing nature of the music industry, music and copyright, the manufacturing of musical celebrities and how institutions shape the ways in which people consume music.
Fairchild has published two books, Pop Idols and Pirates (Ashgate, 2008) and Community Radio and Public Culture (Hampton, 2001), and articles in journals such as Popular Music, Journal of Popular Music Studies, Media, Culture and Society, Southern Review and Context.
His current research work examines the role of cultural intermediaries in the music industry, including studies of the “Idol” phenomenon and music presenters at community radio stations in Australia, Canada and the USA.
Fairchild holds a BA in Liberal Arts from the University of Illinois, a MA in Ethnomusicology from York University in Toronto, and a PhD in American Studies from the State University of New York at Buffalo where he was a student of the enthnomusicologist Charles Keil.
Cecilia Sun DMA Eastman, PhD California LA
Cecilia Sun, a musicologist, is a lecturer in the Arts Music Unit at the Sydney Conservatorium of Music. Her current research interests include twentieth century historiography, eighteenth century performance practice, and the intersection between music and politics.
Sun graduated from the Western Australian Conservatorium of Music where she majored in piano performance. With assistance from the Fulbright Commission she attended the Eastman School of Music where she completed a MMus and a DMA in piano performance and literature, and developed a specialisation in historical performance practice with Malcolm Bilson. Her PhD dissertation in Musicology was undertaken at UCLA and examines the performance history and practices of experimental music from the 1960s to the 2000s. While at ULCA, Dr Sun was a Foundation Editor of the e-publication, ECHO: a music-centred journal.
Senior Research Fellow
Linda Barwick, BA PhD Flin
Associate Professor Linda Barwick is a musicologist and an expert in musical analysis, digital archiving and the traditional music of Indigenous Australia, Italy and the Philippines.
Barwick is the foundation director of the Pacific and Regional Archive for Digital Sources in Endangered Cultures, a state-of-the-art digitisation and archiving facility established by a multi-university consortium at the University of Sydney in 2003. She is also president of the Digital Endangered Languages and Musics Archives Network.
At PARADISEC, Barwick has also worked to help establish and operate sound archives for the Indigenous communities of Belyuen, Wadeye, Kabulwarnamyo and Minjilang. She is also engaged in the archival documentation of songs in the Murriny Patha language at Wadeye and in the endangered languages of the Cobourg Peninsula including Iwaidja, a language that now has fewer than 200 speakers.
Her most recent project is heading a cross-disciplinary team that is investigating Classical Song Traditions of Western Arnhem Land in their Multilingual Context — the work is funded by a grant from the UK-based Hans Rausing Endangered Languages Project.
Barwick’s early work on central Australian song drew on the extensive collections of Australian ethnomusicologist Catherine Ellis to demonstrate the importance of musical performance as social action. Since then Barwick has published widely and held numerous Australian Research Council fellowships and consultancies for universities, corporations and land councils.
Many of Barwick’s field recordings are also available on CD: The award-winning compilation, Jurtbirrk Lovesongs from Northwestern Arnhem Land (2005) is available from Skinnyfish and she recently helped produce Wurrurrumi Kun-borrk: Songs from Western Arnhem Land by Kevin Djimarr, was released in 2007 by Sydney University Press.
A complete bibliography and more about Barwick’s work with can be found at her website.
Honorary Associates
Nicholas Routley PhD Cambridge
Nicholas Routley teaches in the Arts Music and Musicology units at the Sydney Conservatorium of Music. His research interests include the operas of Handel, Gluck and Andriessen, fifteenth century music (particularly Musica Ficta) and Debussy. He was President of the Musicological Society of Australia from 2000–2002.
Routley was born in England, and educated at St John’s College in Cambridge where he studied piano, composition, analysis and conducting. He emigrated to Australia take up a lectureship at the University of Sydney and founded the Sydney Chamber Choir in 1975. He has undertaken two three-year secondments to the Department of Music at the University of Hong Kong, and has conducted numerous Australian and Asian orchestras including the Sydney Symphony Orchestra and the Darwin Symphony Orchestra.
His conducting career has seen him with numerous Australian and Asian orchestras including the Sydney Symphony Orchestra and the Darwin Symphony Orchestra, with whom in 2006 he conducted Verdi's Requiem. He was for thirty years the director of the Sydney Chamber Choir until his retirement from that post in 2006.
Associate Professor Routley’s return to composition in 1996 resulted in the large scale choral work, Mycenae Lookout, a symphony, a symphonic poem, a guitar concerto, and numerous small scale works for voice and piano, choir and brass. His compositional influences span Post-Modernism, Romanticism, Josquin des Prez, Ross Edwards, Michael Tippett and South India. He is currently engaged on the composition of an opera cycle on the Indian epic poem, Mahabharata.
