Where East and West collide - the music of Kim Cunio.
What happens when two opposing worlds collide in a composer, that of traditional devotional music that is learned and performed orally, and the world of writing music for a living that naturally leads to music being created for functional as well as aesthetic reasons. Cunio's music attempts to reconcile these two worlds; notation and oral tradition are equal partners alongside technology and the processes of recording and producing music. This lecture looks the compositions contained in the following projects: Music of the Dead Sea Scrolls (Art Gallery of NSW and Israeli Department of Antiquities 2000), Buddha Realms (ABC 2002), Ishq (Art Gallery of NSW (2007) and The Thread of Life (Foundation for Universal Sacred Music 2006).

This lecture also features Heather Lee - soprano, and Nicholas Ng - Erhu.

Bringing Reflexive Writing and Personal Storytelling to the Creative Arts.
Autoethnography is an autobiographical genre that connects the personal to the musical, cultural, social, and political. In this lecture, Professor Ellis explores how to bring this personal storytelling approach into music and the creative arts more broadly.

Professor Ellis is one of the world's leading experts on autoethnography. She has published four books—Fisher Folk: Two Communities on Chesapeake Bay; Final Negotiations: A Story of Love, Loss, and Chronic Illness; The Ethnographic I: A Methodological Novel about Autoethnography, and Revision: Autoethnographic Reflections on Life and Work—as well as four edited collections, and more than one hundred articles, chapters, essays, and autoethnographic stories. She has served as President of Society for the Study of Symbolic Interaction and chair of two divisions of national organizations, "The Ethnography Division" of National Communication Association and "The Emotions Section" of American Sociological Association. She has given approximately fifty invited workshops and keynote presentations all over the world, including the US, South Africa, Finland, Italy, Canada, China, and Denmark.

Vanessa Tomlinson interviews Natasha Vlassenko
Natasha Vlassenko was born in Moscow and graduated from Moscow Central Music School and Moscow Conservatory under Professor Jakob Flier and pursued postgraduate studies with her father, Professor Lev Vlassenko. As a student she was awarded the prestigious Tchaikovsky Scholarship.

Vlassenko has won major prizes in several international competitions, has given recitals around the world and has played under the baton of Rozhdestvensky, Osterriher, Pietnev, Martin, Chivjel, Hickox and others.

In an interview with Vanessa Tomlinson, Vlassenko discusses her musical upbringing and the "inner life" of the artist. Vlassenko then performs Chopin's "Raindrop" Prelude No. 15 in D-flat Major (op. 28).

Unfolding “Moonless Etude”: descriptions from inside music making.
Born in Cordoba, Argentina, composer Gerardo Dirié is also an accomplished conductor, performer, and educator. As a composer, he has had many acclaims and performances in the United States, Latin America and Europe. Dirié is co-editor of Scores and Recordings at the Indiana University Latin American Music Center, one of the premiere resources available to performers and scholars of Latin American art music today. Dr Dirié is currently Head of Music Studies at the Queensland Conservatorium in Brisbane, Australia.

In this lecture, Dirié reflects on his own compositional process and its capacity for the development and transformation of the self. Dirié’s presentation spans issues from the abstract and philosophical to the technical matters of sound recording. At the center of the presentation are three pieces recently composed by Dirié, recordings of which feature both as examples and as arguments in themselves.

David Price is a highly experienced public speaker, project manager, strategic adviser and education consultant. After a 15 year stint in the music industry, he began to work in education, lecturing in adult, further, and higher education. In 1994 he helped establish Sir Paul McCartney’s Liverpool Institute for Performing Arts, where he was Director of Learning for 7 years. Since then, he has led national projects in arts and education in the UK, and advised companies, third-sector organisations and government departments internationally. He was instrumental in developing the Musical Futures project in the UK, an exciting innovation which has produced a substantial increase in the uptake of music by students in participating schools. This project is one of the subjects David referred to in his presentation to Bachelor of Popular Music students, Education students and a range of Griffith staff members when he delivered a Twilight Series lecture on the Gold Coast Campus on October 7, 2008.

This presentation features a recent case study in the Fullbright-funded iOrpheus (iPod Opera) project, held on the Brisbane Australia, South Bank Parklands in August 2007. This involved the work of US Internet music pioneers Bill Duckworth and Nora Farrell, as well as students and staff from the Queensland Conservatorium and the Griffith Film School. The session opens with an address by Paul Draper followed by the screening of the ‘iOrpheus – the Movie’ documentary, and live cross to New York to videoconference with Bill and Nora to further examine the project.

This presentation features a recent case study in the Fullbright-funded iOrpheus (iPod Opera) project, held on the Brisbane Australia, South Bank Parklands in August 2007. This involved the work of US Internet music pioneers Bill Duckworth and Nora Farrell, as well as students and staff from the Queensland Conservatorium and the Griffith Film School. The session opens with an address by Paul Draper followed by the screening of the ‘iOrpheus – the Movie’ documentary, and live cross to New York to videoconference with Bill and Nora to further examine the project.

This presentation features a recent case study in the Fullbright-funded iOrpheus (iPod Opera) project, held on the Brisbane Australia, South Bank Parklands in August 2007. This involved the work of US Internet music pioneers Bill Duckworth and Nora Farrell, as well as students and staff from the Queensland Conservatorium and the Griffith Film School. The session opens with an address by Paul Draper followed by the screening of the ‘iOrpheus – the Movie’ documentary, and live cross to New York to videoconference with Bill and Nora to further examine the project.

This presentation features a recent case study in the Fullbright-funded iOrpheus (iPod Opera) project, held on the Brisbane Australia, South Bank Parklands in August 2007. This involved the work of US Internet music pioneers Bill Duckworth and Nora Farrell, as well as students and staff from the Queensland Conservatorium and the Griffith Film School. The session opens with an address by Paul Draper followed by the screening of the ‘iOrpheus – the Movie’ documentary, and live cross to New York to videoconference with Bill and Nora to further examine the project.

This presentation features a recent case study in the Fullbright-funded iOrpheus (iPod Opera) project, held on the Brisbane Australia, South Bank Parklands in August 2007. This involved the work of US Internet music pioneers Bill Duckworth and Nora Farrell, as well as students and staff from the Queensland Conservatorium and the Griffith Film School. The session opens with an address by Paul Draper followed by the screening of the ‘iOrpheus – the Movie’ documentary, and live cross to New York to videoconference with Bill and Nora to further examine the project.

Considered one of the finest tenors of his generation, Jonathon's credits include some 70 roles with most State Opera Companies and Opera Australia. He has performed with some of the world's most highly regarded singers, directors and conductors including Dame Joan Sutherland, k.d.lang, Baz Luhrman, Graeme Murphy, Richard Bonynge, Anne Murray and Jimmy Somerville.

Jonathon completed a Post Graduate Degree in Music at Queensland Conservatorium of Music studying with Donald Smith. The following years led him to win some of Australia's most coveted performing scholarships, including the Young Artists Program with Opera of Queensland. With a deep commitment to the community and youth music education, Jonathon has directed some of Australia's finest community choirs, also creating the Australian Pop Choir, Pop Kidz and the Sydney Street Choir prior to his return to his "hometown" of Melbourne where he has created the Choir of Hard Knocks.

This webcast takes the form of an interview between Jonathon and the Director of the Queensland Conservatorium Griffith University, Professor Peter Roennfeldt. This was recorded in front of a live audience in Ian hanger Recital Hall on Friday the 26th October 2007.

In the last decade, the Internet has served to enable the explosion of
social networking. From MySpace, to YouTube and Wikipedia, participatory
culture has transformed value systems, undermined notions of authority and
power, while simultaneously creating new pathways for autonomous creativity
and innovation. In this lecture, Paul Draper discusses these phenomena and
suggests a higher learning imperative for what might be considered ‘music
2.0’, that is, for independent musical craft set in authentic contexts
which continue to redefine 21st century artistry.

In the last decade, the Internet has served to enable the explosion of
social networking. From MySpace, to YouTube and Wikipedia, participatory
culture has transformed value systems, undermined notions of authority and
power, while simultaneously creating new pathways for autonomous creativity
and innovation. In this lecture, Paul Draper discusses these phenomena and
suggests a higher learning imperative for what might be considered ‘music
2.0’, that is, for independent musical craft set in authentic contexts
which continue to redefine 21st century artistry.

In the last decade, the Internet has served to enable the explosion of
social networking. From MySpace, to YouTube and Wikipedia, participatory
culture has transformed value systems, undermined notions of authority and
power, while simultaneously creating new pathways for autonomous creativity
and innovation. In this lecture, Paul Draper discusses these phenomena and
suggests a higher learning imperative for what might be considered ‘music
2.0’, that is, for independent musical craft set in authentic contexts
which continue to redefine 21st century artistry.

In the last decade, the Internet has served to enable the explosion of
social networking. From MySpace, to YouTube and Wikipedia, participatory
culture has transformed value systems, undermined notions of authority and
power, while simultaneously creating new pathways for autonomous creativity
and innovation. In this lecture, Paul Draper discusses these phenomena and
suggests a higher learning imperative for what might be considered ‘music
2.0’, that is, for independent musical craft set in authentic contexts
which continue to redefine 21st century artistry.

In the last decade, the Internet has served to enable the explosion of
social networking. From MySpace, to YouTube and Wikipedia, participatory
culture has transformed value systems, undermined notions of authority and
power, while simultaneously creating new pathways for autonomous creativity
and innovation. In this lecture, Paul Draper discusses these phenomena and
suggests a higher learning imperative for what might be considered ‘music
2.0’, that is, for independent musical craft set in authentic contexts
which continue to redefine 21st century artistry.

Visiting Senior Fulbright Specialist William Duckworth presents his views on the future of web-based music making. He is well positioned to do so: a decade ago, on June 10th, 1997, he and media artist Nora Farrell created Cathedral, the first on-going interactive work of music and art online. Featuring the PitchWeb -a custom-designed multi-user virtual instrument that allows global site visitors to perform with each other online and live in concert with the Cathedral Band- their work blurs the boundaries between composer, performer, and audience.

Today, Duckworth and Farrell are developing iOrpheus. a public opera for the promenades of the South Bank Parklands on 31 August 2007. With tableaus of the central moments of the Orpheus legend appearing and reappearing in various unexpected locales, iOrpheus is an undertaking that explores the artistic transformation of scale, as it progresses from in the ear, to in concert, to in the streets.

In his Twilight Lecture, Duckworth will discuss his work online, touching on the concepts of distributed composition, and collective creative processes of present and future. The lecture will also include a display of the sights and sounds of Cathedral, a behind the scenes look at the iOrpheus development, and a brief journey through early sounds online when, for music, the Web was the new frontier.

William Duckworth’s residency at the Queensland Conservatorium is supported by
The Fulbright Foundation
South Bank Corporation
Queensland Conservatorium Research Centre and
Griffith University

The first of the Twilight Lecture series for 2007 will be presented by the Director Peter Roennfeldt, who has been closely involved with the archival work surrounding the Conservatorium's 50th anniversary celebrations. It will highlight the ways in which the planning for, establishment and subsequent development of the Queensland Conservatorium were imbued with vision and the search for an ideal.

The human element behind institutional life comes clearly through in the reportage and memoirs of staff, students and supporters over many years - it was their Utopian vision which made many artistic projects come to fruition, often against the odds. Surviving the 'double cultural cringe' from the northern hemisphere and the southern states has nevertheless been a significant subtheme attached to this journey, with mixed and at times interesting and unexpected results. This talk will be much more than a trip down memory lane, but inevitably some of the more interesting and under acknowledged aspects of the Conservatorium's story will be brought to light.

Dagfinn’s presentation will focus on the challenges and opportunities arising from the dramatic changes in the digital arts value chain particularly the relationship between multinational companies, small and medium enterprises and individual artists. How do rights holders – both artists and producers – avoid being exploited by these changes and what can we expect in the next decade in this exciting and rapidly evolving industry? During the presentation, Dagfinn will also present an introduction to the next generation online media technology standard: MPEG-7.

Rethinking music teaching and learning
How does learning music outside one’s comfort zone influence one’s beliefs about music education and one’s work as a practitioner? In this lecture, Peter Dunbar-Hall discusses how his experiences of learning to play Balinese music from teachers in Bali changed his views on music education.

Rethinking music teaching and learning
How does learning music outside one’s comfort zone influence one’s beliefs about music education and one’s work as a practitioner? In this lecture, Peter Dunbar-Hall discusses how his experiences of learning to play Balinese music from teachers in Bali changed his views on music education.

Rethinking music teaching and learning
How does learning music outside one’s comfort zone influence one’s beliefs about music education and one’s work as a practitioner? In this lecture, Peter Dunbar-Hall discusses how his experiences of learning to play Balinese music from teachers in Bali changed his views on music education.

Rethinking music teaching and learning
How does learning music outside one’s comfort zone influence one’s beliefs about music education and one’s work as a practitioner? In this lecture, Peter Dunbar-Hall discusses how his experiences of learning to play Balinese music from teachers in Bali changed his views on music education.

Free Improvisation - thought by many to be a rarefied and abstract art form - is simply misunderstood. Drawing on perspectives from within and beyond the boundaries of music, this presentation will examine a musical practice often perceived as self-indulgent, impulsive, wayward and chaotic. By the very nature of it, can an approach be developed for improvising in a free manner? Is free improvisation the same as jazz improvisation? Is the act of improvising really about 'making things up on the spur of the moment'?

Free Improvisation - thought by many to be a rarefied and abstract art form - is simply misunderstood. Drawing on perspectives from within and beyond the boundaries of music, this presentation will examine a musical practice often perceived as self-indulgent, impulsive, wayward and chaotic. By the very nature of it, can an approach be developed for improvising in a free manner? Is free improvisation the same as jazz improvisation? Is the act of improvising really about 'making things up on the spur of the moment'?

Free Improvisation - thought by many to be a rarefied and abstract art form - is simply misunderstood. Drawing on perspectives from within and beyond the boundaries of music, this presentation will examine a musical practice often perceived as self-indulgent, impulsive, wayward and chaotic. By the very nature of it, can an approach be developed for improvising in a free manner? Is free improvisation the same as jazz improvisation? Is the act of improvising really about 'making things up on the spur of the moment'?

Free Improvisation - thought by many to be a rarefied and abstract art form - is simply misunderstood. Drawing on perspectives from within and beyond the boundaries of music, this presentation will examine a musical practice often perceived as self-indulgent, impulsive, wayward and chaotic. By the very nature of it, can an approach be developed for improvising in a free manner? Is free improvisation the same as jazz improvisation? Is the act of improvising really about 'making things up on the spur of the moment'?

Free Improvisation - thought by many to be a rarefied and abstract art form - is simply misunderstood. Drawing on perspectives from within and beyond the boundaries of music, this presentation will examine a musical practice often perceived as self-indulgent, impulsive, wayward and chaotic. By the very nature of it, can an approach be developed for improvising in a free manner? Is free improvisation the same as jazz improvisation? Is the act of improvising really about 'making things up on the spur of the moment'?