Professor Kim Cunio

DCA, (composition), University of Western Sydney, M Mus, (composition) University of Newcastle, B Mus (composition and voice), University of Newcastle, B Communications UTS, D Ministry (New Seminary)
Outgoing Head of the ANU School of Music (On sabbatical during 2024)
ANU College of Arts and Social Sciences
T: +61-2-6125-1386

Areas of expertise

  • Music Composition 190406
  • Music Performance 190407
  • Musicology And Ethnomusicology 190409
  • Music Technology And Recording 360305
  • Music Education 360303
  • Religious Studies 5004

Research interests

Music composition, traditional music, ethnomusicology, music and the sciences, music and health

A descendant of Mizrachi Jews from India and Iraq, Kim is a recipient of the ABC Golden Manuscript Award for his work on traditional music. His compositions have been played internationally with performances at the Whitehouse, United Nations, and festivals in a number of countries. His list of commissioning organisations and places include the Sydney 2000 Olympics, Art Gallery of NSW, National Gallery of Victoria, Melbourne International Arts Festival, Foundation for Universal Sacred Music (USA), and many others. A number of Kim’s projects and tours have been funded by the Australia Council for the Arts and the Commonwealth Government. Kim is working on a series of albums with the Gyuto Monks of Tibet; a project setting the sounds of space with the British Antarctic Survey and artist engineer Diana Scarborough; and a project on enforced feticide in India with writer and gender scholar Manish Sharma, as well as a book that looks at Indigenous led decolonisation in the Academy with kate harriden and Jess Weir.


Professor Kim Cunio, Head of the School of Music at the Australian National University (2019-2023), is an activist composer interested in old and new musics and the role of intercultural music in making sense of our larger world.Kim led the ANU School of Music into a period of stability and innovation, instituting a strategy for Indigenous engagement as well as a global music performance program that responds to Australia in the 21st Century.

Kim made a sustained contribution to Australian music, arts, culture and governance, public advocacy and commentary in print, radio and pod. The role included leadership of the ANU Press - Music, writing and implementing a Strategic Plan (2019), major review (2023), securing funding for and leading major research projects, developing philanthropy, rebuilding the performance capacity of the School, and reimagining the role of music and music education in the 21st Century.

Kim has been nominated for the ANU’s Academic Board, the College of Arts and Social Sciences Awards for Excellence in Education and the Vice Chancellors Awards for Excellence in Education, received the College of Arts and Social Sciences leadership award, and transformed the ANU School of Music into innovative research led institution that is capable of winning competitive research and philanthropic funding. Kim writes for the peak body the Deans and Directors of the Creative Arts, the Crawford Centre for Public Policy at the ANU and has a regular segment on ABC Radio Canberra to discuss music and the larger word.

Highlights include 6.5 million in new endowed philanthropy comprising jobs in opera, brass, jazz and conducting; 3.7 million in new arts / research funding; Launch of Yil Lull studio – Australia’s free National Indigenous recording studio in 2020; Major investment in First Nations music: 6 First Nations staff in 2023, William Barton as research Fellow in 2022; Teaching into and funding the Ngarra Burria program which trains First Nations composers at the ANU; A highly regarded PhD program cantering on artistic practice research; Partnerships with neuroscience and astrophysics; A new music and health initiative; Active decolonisation of the School while still fostering important musical traditions; New initiatives such as in Women and Music and Music of the Global South; ANU Music Press; 5 years of a fortnightly half hour radio slot on ABC Radio to talk music; Economic study demonstrating a net worth of 22 million P/A to the ACT economy; ARC peer reviewer 2023-4.

Researcher's projects

Some of Kim's recent commissions and projects include, Beyond Karma with the Gyuto Monks of Tibet,  Ishq, music for Khalili collection of Islamic Art at the Art Gallery of NSW; working with researcher Genevieve Campbell on her led project of music of the TIWI Islands; Songs to RA, music for the Egyptian Antiquities exhibition from the Louvre; Mandala for Dawn, an orchestral and choir work commissioned and performed in New York, The Thread of Life, a live recording of an international ensemble in New York for US release; The Temple Project, a realization process setting ancient Psalms and Biblical texts to Baghdadian Jewish chant on replica instruments; The Sacred Fire, an ABC commission to reconstitute the music of the first woman composer Hildegard of Bingen; Tomorrow's Islam, a commission to write music reflective of contemporary, modernist Islamic thinkers; and Buddha Realms, a response to the diversity of Buddhist music, written as a response to transcriptions of Buddhist players and singers. Kim has also written a significant body of music for television and screen in this period, principally for the ABC, which has seen him nominated for two Guild of Screen Composers Awards. Many of these projects include collaborations, particularly with soprano Heather Lee who has one of the finest high voices of Australia, and their work together combines classical methodology, traditional performance practice, new composition and wild improvisation.

Other noteworthy projects include Rising, a new opera which recently toured QLD, a planned recording of the landmark 13th Century collection, the Cantigas de Santa Maria, producing soprano Heather Lee and the Statny Komorny orchestra, producing composer Yitzhak Yedid’s music for Challenge Records Germany, three discs with the visionary writer Stephanie Dowrick, CDs with Canadian clarinet virtuoso Francois Houle, a commissioned sertting of the stories of assylum seekers in Australia and a new work for The Song Company. Between this Kim is building towards an international project based on the precepts of field recording and acoustic ecology. In the field of technology Kim has beern making a number of sample libraries with Evolution Series, and an upcoming work titled the extended violin is planned with Grame Jennings.

Kim's work with the Gyuto Monks of Tibet is worthy of specific mention. Working closely with Maureen Fallon and Sonam Rigzin, who brought the Monks to Australia for over 20 years, this was part of a project to bring the Gyuto Monks to the West as well as robustly document and invigorate this astounding music tradition. To date there have been two albums, Sound Sleep and Beyond Karma, a concerto for the Gyuto monks and chamber orchestra, as well as national and international touring, national broadcasts, with deep applied musicology. This has been supported by the Tyalgum Festival, New Earth Records (US), the ABC, the Qld Conservatorium and the ANU. Beyond Karma was longlisted for a World Music Grammy Award in 2016. It charted in the US world and ambient charts for months, and was selected in the US Zone Music Reporters top 100 albums for 2016. 

Kim also works in the Indian subcontinent. His work there includes The Kalpa, a long instrumental work with eminent Carnatic flautist Dr Natesan Ramani; Garden and Cosmos, the Art Gallery of NSW and the Maharaja of Jodhpur’s sacred art collection; Oneness, an international commission on the life of Swami Vivekananda premiered at the Opera House and a project to set Sri Aurobindo’s epic poem Savitri to early Christian chant. A project close to Kim’s heart is The Vanishing, which is concerned with the practice of female feticide in India. The project has seen a multi channel installation prepared for Australia, the US and India, which combines field recordings with fictionalised stories based on ethnographic research in the field, written by Dr Manisha Sharma. Kim is also involved in a major project to document and write music with the Gyuto Monks of Tibet, with 2 releases in 2015-16, and a multi disc set to capture traditional practices that Kim is hoping to combine with a scholarly musicological book. In mid 2016 Kim presented a first work for string orchestra and the Gyuto Monks at the Tyalgum festival in NSW. Future invitations include the Pushkar Sacred Music Festival and the Jaipur Writers Festival.

Kim has 25 years of experience as an artistic practice and discursive researcher as well as a longstanding history as a composer. In this time, I have worked to increase the profile and understanding of artistic practice research in the academy. At the Qld Conservatorium I was co-chair of the Music and Communities Research Hub for the Queensland Conservatorium Research Centre (QCRC), working as a researcher supervisor, and researcher, receiving special commendation for my Doctoral supervision. 

Selected Traditional Research

Meredith, N, Cunio, Scarborough D, Wynne, A (2022). Music of the Spheres.

Astronomy & Geophysics, Volume 63, Issue 1, February 2022, Pages 1.38–1.40,

Cunio K. (2021). Doye Doye (Interpretation of the 1988 Burma democracy uprising and its violent military suppression), Research Roadshow on Biography and Memoir. ANU School of History.

Cunio K. (2019-2021). Op-eds for the Crawford Ask Policy Forum, 2018-2020. 

Cunio K. (2019). Australia: History, culture, and geography of music from the Sage History and Culture of Music. Major chapter and Australian entry for a five volume compendium on music around the world. IN Print, publication 2019.

Cunio, K. The Vanishing (2018). Published and in Proceedings of the Winter Institute, University of Tokyo. 

Cunio, K. Bearing Witness in musical composition. In Tomlinson, T, Wren T, Editors. (2017). Here and Now. Artistic Research in Music, an Australian Perspective. Book chapter, New York, Intelligent Arts.

Cunio, Kim. Keynote. Screen composition practice and thought. Taipei National University of the Arts, ROC, Screen conference and Festival.(November 2018).

In publication are chapters for Australian Studies, The Journal of the Humanities.

Selected Pre ANU Traditional

Draper, P., & Cunio, K. (2014). The little r in Artistic Research Training. In S. Harrison (Ed.), Research and Research Education in Music Performance and Pedagogy (pp. 105–117). United Kingdom: Springer.

Cunio, K, Harvey, L. (2011). ISHQ: A collaborative film and music project – art music and image as an installation, joint art as boundary crossing. Published and in proceedings of Create World 28 Nov – 30 Nov 2011  Brisbane, Australia.

Cunio K (2011). The War On the Critical Edition Volume 2, multiple compositions from a single source. In proceedings of the ORCIM RESEARCH FESTIVAL 2011 X-PERIMENT - an international dialogue on Artistic Experimentation in Music Orpheus Research Centre in Music [ORCiM] Ghent, Belgium 5-8 October 2011.

Cunio K (2011). The musicologist as composer / producer – the intersections of traditional music, creative practice and technology. In proceedings of the Sustainability and ethnomusicology Symposium, Queensland Conservatorium, Griffith University 17 – 19 March 2011.

Cunio, K, Hitchcock M. (2011). Creative practice: Investigating the development of inter-disciplinary collaboration in the creative arts. In proceedings of the International Technology, Education and Development Conference, 7 – 9 March 2011, Valencia Spain.

Cunio, K. ‘By the Bund and beyond: Music-making in the Shanghai and overseas Jewish communities’ In, Encounters: Musical meetings between Australia and China, edited by Nicholas Ng. Australia, Australian Academic Press, 2013.

Hitchcock, M. Cunio, K, Chircop D, Harvey, L. (2010). Crossing boundaries: promoting cross-disciplinary projects in four creative arts faculties. Published and in proceedings of Create World 2010 Working on the Edge: Creativity, Technology and Innovation, 29 Nov – 1 Dec, Brisbane, Australia.

Cunio K. (2010). Practice based research as a methodology to resolve artistic and economic contradiction within the working life of an artist. In proceedings of the Queensland Conservatorium Research Centre Research Festival, Queensland Conservatorium Griffith University, November 22, 2010.

Cunio, K. (2010). Interspiritual music as a model for personal transcendence within interfaith dialogue. In proceedings of the Australian Association for the Study of Religions annual conference, July 2 – 4  2010, Brisbane, Australia.

Cunio, K. (2010). The War on the Critical Edition. Published and in proceedings of CreateWorld 2009: Mobile Me, Creativity on the Go, 30 November – 2 December 2009, Brisbane, Australia.

Cunio, K. (2009). The Thread of Life: Intercultural music making and the process of defining cultural connection. Refereed proceedings, Conference of the Musicological Society of Australia, 25 – 27 September 2009, Newcastle, Australia.

Cunio, K. (2008). Intercultural Composition and the realization of ancient and medieval music. Sydney, Doctoral thesis, University of Western Sydney, 2008

Selected ANU Non Traditional Research

Cunio K, Meredith, N, Scarborough D.  (2022). In Aurora’s Garden. Album. Solar storm at Halley Antarctica set to music and new art.  UK, British Antarctic Survey and the ANU, released freely on ‘bandcamp’.

Cunio K, Meredith, N, Scarborough D.  (2022). Sunconscious . Album. The sun brought to life in an art science collaboration. UK, British Antarctic Survey and the ANU, released freely on ‘bandcamp’.

Cunio K, (2022). John and Pauline learn Farsi. Commissioned y the Canberra International Music Festival for the 21st anniversary of the Tampa incident and scandal in Australia.

Cunio K, Meredith, N, Scarborough D.  (2021). Celestial Incantations. Album. ‘Sounds of space’ in natural radio and gravitational waves from the Earth to beyond the galaxy. UK, British Antarctic Survey and the ANU, released freely on ‘bandcamp’.

Cunio, K. (2021). C02 and the Ice Core. 25 minute symphony composed and conducted for the Canberra Symphony Orchestra and violin soloist Kirsten Williams.

Cunio, K. (2021). Heaven. Electroacoustic orchestral work for the final movement of the Vietnam Requiem, directed and conceived by Chris Latham.

Cunio K, Meredith, N, Scarborough D. (2020). Aurora Musicalis. Double album. ‘Sounds of space’ as captured, converted and recorded in Antarctica at the British Antarctic Survey’s Halley V1 station, with newly composed piano music. UK, British Antarctic Survey and the ANU, released freely on ‘bandcamp’.

Cunio, K, Edwards, R, Latham, C, (2018). 62,000  Bells for the fallen in the First World War. Installation as part of The Diggers Requiem, Amiens, France, and the Australian War Memorial 2018.

Cunio K, Lee, H. Indian Tour. Performances at the Pushkar Sacred Music Festival (India 2018), a commission to stage a new realization of Sri Aurobindo’s Savitri at the Indian Arts Centre Calcutta, as well as performances, keynotes and consultancies in Tamil Nadu.

Sainsbury C., Cunio, K, Hunt, K. Ngarra Burria: Indigenous Composers Initiative. Teaching and mentoring 15 indigenous composers, working with the Australian Music Centre and Ensemble Offspring. CD release with Australian Music Centre 2018, ABC broadcasts in 2018-2021. Live performances in Sydney and Canberra 2018-19 with ensemble partners including Offspring and Navy Band.

Cunio K, Hogg C. The Sacred Space of my mind. Music and spoken word CD. International release on Eternity Ink, 2020.

Cunio K, Hog, C. Masters of Change. 108 episodes on Indian philosophy and art for Indian national television, India Awakening Channel, 2020-23. Distributed in the US with viewership of 20-100 million.

Cunio, L. Psalm 137. 10 minute choral work commissioned for Luminescence Chamber Singers East Coast Tour, 2018. 

Cunio, K. World Strings Oud Sample Library. A 40 gig recording of all possible performance techniques of the oud for release on the KONTAKT platform, Evolution Series, Germany.

Cunio, K. World Strings Saz. Sample Library, A 40 gig recording of all possible performance techniques of the saz for release on the KONTAKT platform, Evolution Series, Germany.

Cunio, K. World Strings Tanpura. Sample Library, A 25 gig recording of all possible performance techniques of the tanpura for release on the KONTAKT platform, Evolution Series, Germany.

Cunio, K. World Harmonium. Sample Library, A 30 gig recording of all possible performance techniques of the harmonium for release on the KONTAKT platform, Evolution Series, Germany.

 These four NTROs constitute a world first, best practice techniques in recording scoring and sampling these middle Eastern instruments. Each instrument has taken 3 years to develop.

 Cunio, K. Prelude and Postlude to the Lord’s Prayer. 13 minute solo cello work, Written and premiered by Christopher Pidcock at the 2018 Darmstadt 49TH International Summer course and concert series for new music. Australian premier for the retirement of broadcaster Dr Rachael Kohn. Germany, July 14-28, 2018.

Cunio K, Byers, B, Meredith, N, Scarborough D. Sounds of Space and Antarctica. A work for projected images, dance new music and curated sound. A collaboration between scientists form the British Antarctic Division, artist Scarborough, and Cunio utilising NASA space recordings. UK Science Festivals 2018, 2019.

Scarborough D, Cunio, K, Meredith, N. In other worlds. 6 Short film for the Venice Biennale and the Aldeburgh International Film Festival, Alive in the Universe, UK, 2018.

Selected Pre ANU Non Traditional Research

Cunio K. I was only thinking of Jerzy Grotowski. 10 minute work for solo violin and tape, premiered by Elizabeth Welsh at the Darmstadt 48TH International Summer course and concert series for new music. Germany, July 2016.

Cunio, K, Sharma, M, Sharma, A. The Vanishing. A multidisciplinary work relating the stories of vanished Indian girls through installation, broadcast and social activism. Installed in India, US, QLD and NSW, broadcast on Radio National. May 1 – June 30, 2015.

Campbell, G editor. Ngarukuruwala. CD release, tour and residency at QLD Conservatorium 2016. Contributing composer and engineer to the project. Host academic for QLD tour.

Renwick, M. Cunio, K,  (2015). Window to the Soul. A multimedia work for Vivid Festival. May 25-30, 2015.

Cunio, K, Gyuto Monks of Tibet, Fallon, M. (2015). Sound Sleep. Gyuto House, released April, 2015.

Cunio, K, Dowrick, S. (2015). Psalm 57. A new score commissioned for The Song Company. Performed in The Song Company’s Easter tour, April 11-25. Included live broadcast on The Music Show, April 11 and performances in Sydney, Melbourne and regional venues. 

Cunio, K, Lee, H. (2014). Savitri A new score to the text by Sri Aurobindo

Commissioned for Savitri Bhavan and Matramandir, India, Tamil Nadu. Dec 12, 2014 – Jan 05 2015. Performances in India with upcoming CD release in India.

Cunio, K, Dowrick, S. (2014). Rising. Floods, a Travelling QLD Opera. Commissioned, performed and toured by the Queensland Conservatorium Griffith University 18 Sep – 4 October 2014.

Renwick, M. Cunio, K,  (2014). The Dance of Life  A multimedia work for Vivid Festival. May 12-25, 2014.

Cunio, K, Lee, H. (2014). The Adventures of Prince Achmed. A new score to the silent film by Lottie Reiniger. Commissioned by the Gallery of Modern Art, QLD. Jan 15 – October 20 2014. Performances in NSW, QLD and internationally.

Cunio K, Harvey, L. Ishq. In proceedings of the opening of the Queensland Conservatorium foyer, Griffith University 6 September 2011.

Cunio, K. (2009) (Musical Director). Coming into the presence of God. In proceedings of The Parliament of the World’s Religions, 3 – 9, December, Melbourne, Australia.

Cunio K, Lee H, Ng N. (2010). Sacred music: A Plenary Performance. In proceedings of the Australian Association for the Study of Religions annual conference, July 2 – 4  2010, Brisbane, Australia.

Cunio, K. (2009) (Performance / lecture). Sephardic music. Keynote, The Parliament of the World’s Religions, 3 – 9 December Melbourne, Australia.

Cunio, K & Dowrick, S. (2009). (Composer / Producer). Meditation Essentials. Vision Australia, Australia. Music CD.

Cunio, K. (2009). (Composer / Producer) Garden and Cosmos. Sydney, Art Gallery of NSW 2009. Music CD, peer reviewed scholarly article, installation, concert series, 18 October 2009 ­– 31 January 2010.

Cunio K & Lee, H. (2009) (Composer and Musical Director) Sweet Dreams, Sydney, Sydney Opera House, concert series 11 – 16 February, 2009, Sydney Australia. 

Cunio K, Lee H. (2008) (Keynote, Performance, Composer Producer). The Thread of Life. In proceedings and published by the Foundation of Universal Sacred Music 2nd Research and performance Festival, 7 – 11 November 2006, New York, USA. 

Cunio K, Lee H.  (2007) (Composer / Producer). Hildegard Von Bingen, The Sacred Fire, Commissioned peer reviewed CD and scholarly essay, Australian Broadcasting Corporation, Sydney Australia.

Cunio K. (2007) (Composer Producer). Ishq. Sydney, Art Gallery of NSW 2007. Music CD, peer reviewed scholarly article, installation, concert series. 22 June – 23 September 2007, Sydney Australia.

Cunio K, Canute C. (2007) (Composer / Producer). The bamboo flute. Sydney, Young Australia Workshop, 12 March – 30 September, National touring performance.

Cunio K. The Quiet Revolution. Music for 3 part ABC Television special on the interfaith movement around the world. ABC Television 2006-8.

Cunio K. Buddha Realms and Under Eastern Skies. Music for 2 part ABC documentary series to accompany the Buddha Radiant Awakening Exhibition, Art Gallery of NSW 2001-2. CD released on ABC Music.

Cunio K. The Temple Project. Commissioned work for the 2004 Melbourne International Music Festival, collaboration with the Haifa and Australian Jewish Museums. Live ABC radio broadcast October 2004, ABC Sunday Arts Program Jan 2005, touring performances around Australia 2005-8. Scholarly papers and presentations at the University of Western Sydney and Jo Wha CD, Wirripang, 2006.

Cunio K, Lee H. Music of the Dead Sea Scrolls (2000-2004). Installation at Art Gallery of NSW, soundtrack to touring exhibition in conjunction with Israel Department of Antiquities, Music CD, concert series, soundtrack to two part ABC Compass documentary. Scholarly paper in the Australasian Journal of Jewish Studies.

Featured Non Traditional Research

1. Cunio, K, Rigzin, S. (2016-17) Beyond Karma. CD for New Earth records (US), International touring including WOMAD, Glastonbury and Australian National tour, radio broadcasts and residency at QLD Conservatorium, and new orchestral work for Tyalgum Festival and Camerata of St Johns Orchestra. CD on Grammy list (pre nomination). Top 100 Us Zone music Charts 2016. Charted US world music charts for 3 months. CD, tour, new work. Commissioned by New Earth, US. Released US, Europe, Australia, Japan, distributed by Sounds True. Longlisted for a Grammy Award 2016. This is the first classically informed album  with the Gyuto Monks of Tibet, (the lowest chanters in the world), for many years, and continues research started by Huston Smith 40 years ago. This was seen as a critical masterpiece. Peer reviewed by the record label, a long list for a Grammy Nomination in 2016, Top 100 releases US Zone reporter 2016, Charted US world music charts 4 months (peaked at number 13), charted US ambient charts 2016 for 3 months. International touring including WOMADELAIDE, Glastonbury, and shows throughout Australia, a residency at the Qld Conservatorium, and a new 30 min orchestral work commissioned by the Tyalgum Festival with the Camerata of St Johns. Read the ANU reporter:

More information

CD release

Broadcast, Rhythm Divine, ABC Radio National,-beyond-chant/7322580

Audio recording movement 1 live at the Qld Conservatorium with Divertimenti Strings conducted by Graeme Jennings

Tyalgum Festival video, suggested viewing at 16’00

Selected reviews and quotes:,-beyond-chant/7322580

2. In depth non traditional research review (2021): Limelight

Kim Cunio is the head of the ANU School of Music, and, at this concert, he conducted the Canberra Symphony Orchestra in the world premiere performance of his work, CO2 and the Ice Core, which he wrote about recently for Limelight. There is something of a sardonic tongue-in-cheek, ironic honesty about this quite unashamed statement about climate change, even expressed in the titles of the three movements: The frogs measure the temperature of the pondThe dance of the fossil fuels and And the women sing while the world burns.

Of the first movement, for example, the composer notes: “We are the clever frogs that can measure the temperature of our pond even as it boils.” Each movement is founded on what the composer describes as “found sound”, respectively “CO2 leaving the ice core” (recorded by the British Antarctic Survey), “Durga Puja festival, Kolkata, 2018”, and “Coal processing plant, Orissa, India” (which the composer recorded at some personal danger). The third movement also has an electroacoustic element: 16 sopranos expressing “our collective grief”.

The found and electroacoustic sounds morph into orchestral interpretations in each of the three movements.  Each movement is in Common time, with a pretty much consistent tempo throughout, which the composer conducted in very strict time. The second movement begins with individual musicians putting their own take on the sounds of the Durga Puja festival, guided by text rather than score. It could sound like a cacophony – it certainly was a mix of wild sounds – but it works brilliantly, soon evolving into the marvellously tasteful orchestrations (including tuned percussion instruments) and wonderful scoring patterns that are hallmarks of this inventive work. CO2 and the Ice Core also calls for a solo violin, which Williams took with great assuredness, adding what Cunio described as, in the case of the third movement: “seemingly free lines that glue the movement together”. As much could be said about the solo violin’s part throughout. The work concludes with an increasing intensity, with some occasional dissonances, but also with hints of “Sunrise” from Ferde Grofé’s Grand Canyon Suite. Underscoring all of that is an uneasy calm – the composer’s “childish optimism that in some way we are moving towards better times” – at the end. CO2 and the Ice Core entertains, but also, and more so, fascinates, inspires and provokes thought, and even, perhaps, action. It certainly is worthy of inclusion in the modern canon.

Available student projects

KIm is working with a number of exceptional PhD students, as well as bringing a large number of reserchers to completion in their studies. 

Roya Safei (PhD) Synthesizing Western art music with the Ancient Music of Sassanian Iran, Principal and Chair.

Constantin Campbell (PhD),Towards an understanding of Rebetika in Jazz, Principal and Chair.

Lachlan Coventry (PhD) Creative Practice in Jazz Guitar, Through the Lens, Principal and Chair.

Brendan Clarke (PhD), To Go Beyond: Philosophy, Creativity and Improvisation, Principal and Chair.

Naomi Dinnen (PhD), After the Flood All the Colours Came Out. Finding the Influence of the Hebrew Bible on the Work of U2, Associate.

Jennifer Newsome (PhD)Expectations and Opportunities: Addressing the priorities and requirements of Aboriginal and Torres Strait Islander peoples and communities in the Australian tertiary music education system, Principal and Chair.

Mitra Jahandideh (PhD) A dialogue between nature and culture, working with the Talesh people of Iran, Associate.

Michael O’Neil (PhD)An empirical analysis of the audio/visual relationship in Western Fantasy Role-Playing Games,Associate.

Joshua Robinson (PhD, Composing with the Balinese Gamelan and intercultural perspectives, Principal.

Suzan Clear (PhD) Hunting the Snark: The music of Martin Wesley Smith, Principal and Chair.

For further information regarding supervision contact the ANU School of Music Higher Degrees Convenor Dr Bonnie McConnell.

Past student projects

Anna McDonald (PhD)Towards an understanding of the Persian Kamancheh.Principal and Chair 2019-2023

Greg Stott  (PhD) Guitar Idiolect Expansion via the abstraction of drum-set methodologies. Principal and Chair  2019-2023. Currently under examination

Chloe Hobbs (PhD) The use of orchestration & structure in the exploration of fluid musical hierarchies Candidature 2017-2021, Co Principal and Chair

Aaron Chew (PhD), The music of Busoni, theory and practice Chair, 2022

Llewellyn Osborne (MPhil), The Unbearable Betweenness of Being: stories of identity and deviance between classical and jazz violin improvisation Principal: 2021-2022.

Chris Stone (PhD),Technical efficacy for violin improvisation: How not to run out of fingers, Principal and Chair 2018-2021.

Kent Windress (PhD), Cuban Ceremonial Batá Drumming and YouTube: Understanding Tradition, Change and Video-Sharing in the 21st Century, Candidature: 2015-2016.  Principal until 2017.

Reilly Smethurst (PhD) Musical Harmony after Lacan’s Pantheon Period Candidature: 2015-2017. Co Principal.

Charulatha Mani (PhD) Hybridising Karnatik Music and Early Opera: A Journey Through Voice, Word, and Gesture, Candidature 2016-2019. Principal 2016.

James Harvey (M Phil) Elder Music, Instrumental Music Performance and Affirmative Aging, Candidature 2015- 2017.Principal.

Toby Wren (PhD) Improvising Culture: Discursive Interculturality as a Critical Tool, Aesthetic, and Methodology for Intercultural Music Associate: 2010-2012.

Leah Barclay (PhD) Sonic Ecologies. Electroacoustic Music Composition in Cultural Immersion Candidature 2010-2014.Associate.

Robert Burrell, (PhD) A Process of Becoming. A musical enquiry into process relational philosophy through autoethnographic and zoological means. Candidature 2009-2012. Principal.

Amber Hansen (MMus) Mapping the landscape of my cultural past through the performance of Pan Arab / Popular and Classical Arab Near Eastern music and dance. Principal 2010-2012.

Juan Sebastian Diaz Gasca (PhD) Beyond Music Gameplay: Motivators in the Consumption of Videogame Soundtracks, Candidature 2009-2013.Associate.

Asim Gorashi (MMus) Where are the contexts and techniques of musical mouth whistling. Co-Principal 2009-2012.

Ryan Walsh (MMus) Possible African Influences on the development of Brazilian Cantoria Instrumental styles. Principal 2010-2012.


Projects and Grants

Grants information is drawn from ARIES. To add or update Projects or Grants information please contact your College Research Office.

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Updated:  19 June 2024 / Responsible Officer:  Director (Research Services Division) / Page Contact:  Researchers