2022 in Review
UQ School of Music
In 2022 the School of Music delivered for local and global communities through world-class performances, research with impact and educational activities that supported our students around the globe.
We hosted and produced over 50 concerts and events that were viewed by nearly 2500 in-person audience members. The School featured internationally renowned artists including Peter Coleman-Wright AO, William Barton, Veronique Serret and School of Music alumnus Dane Lam.
Our students, staff, and alumni were commissioned to create music for prestigious institutions and partners including the Queensland Symphony Orchestra, Camerata, Opera Queensland, Brisbane Festival, World Science Festival Brisbane, The Ohio State University, Sydney Cello Quartet, Tyalgum Music Festival, Cornell University and Syracuse University, Queensland Ballet, and London's Brodsky Quartet.
The School broadcast 23 virtual concerts that were viewed by over 4000 people. We also reached over 20,000 people through our social media channels. We continued to innovate existing and emerging platforms to engage our listeners with relevant and inspiring musical content.
We proudly facilitated events and broadcasts by the Australian Piano Duo Festival, Australian Music Teachers Association, Musica Viva, and 4MBS Classic FM. We also produced major events alongside Opera Queensland and Duchesne College.
Music and Country
On Sunday, May 8, the School of Music presented Music and Country as part of the Vice-Chancellor's Concert Series. This performance featured one of Australia's great didgeridoo players and composers William Barton, violinist Véronique Serret, Aunty Delmae Barton, the UQ Symphony Orchestra (UQSO), and Sketch ensemble.
Acknowledgement of Country
Music and Country commenced with a musical Acknowledgement of Country. It was led by Aunty Delmae Barton who was accompanied by William Barton and our contemporary ensemble Sketch. Sketch performed structured improvisational concepts and prepared musical ideas.
Aunty Delmae was born in Emerald to a Bidjara mother and developed her unique musical style by listening intensely to birdsong as a young girl. The Acknowledgement of Country was based on Aunty Delmae’s meditative musical creative work and from her long experience as a writer.
Dance Gundah
The School of Music facilitated William's past collaboration with former Head of the UQ School of Music, Professor Philip Bračanin.
Dance Gundah is a concerto wherein cultures combine. It brings together the wide sonic palette of the didgeridoo, first developed over 1500 years ago, and the multiple instrumental timbres of the symphony orchestra, founded only some 240 years ago. The didgeridoo's traditional role as an accompanying instrument for singers and dancers in sacred and secret ceremonies has been extended into the popular music arena. Dance Gundah propels it into coexistence with classical music in partnership with the symphony orchestra. Its many voiced sounds and attendant emotional states are blended within the orchestra and contrasted with it, in much the same way as a solo instrument in a typical concerto.
Bush{fire} Requiem
The School of Music commissioned an orchestral arrangement of Bush{fire} Requiem (2021); a recent work composed by William Barton and Véronique Serret.
Bush{fire} Requiem is described by Barton as "...a work that encapsulates the very essence of the Australian landscape where we all draw inspiration from and come together in recognition of the elements of the earth and how we must as a humanity look after our country and our people. Telling the story of our creatures of the earth, trees, the rivers, the replenishing and renewal of country. Song lines mother country. Our ways of our cultural heritage and language as an identity for all Australians moving forward together as one people."
Symphony No. 9 in E minor, op. 95
(“From the New World”) (1893)
UQSO closed the concert with an exploration of music connected to land and identity through Antonin Dvořák's Ninth Symphony ("From the New World").
Since its rapturous American premiere in 1893 in Carnegie Hall, it has been one of the most frequently performed and recognisable pieces of Western art music ever written. If success can be measured by having a tune leap zoonotically from the biome of classical music permanently into the realm of popular culture, then this might be the most successful symphony ever written, so ubiquitous has the main theme of its second movement (aka “Goin’ home”) become.
REQUIEM
Dane Lam Conducts Verdi and Likhuta
On September 4 the School presented its second Vice-Chancellor's concert for 2023, which featured Dane Lam conducting one of the most powerful works for symphony orchestra and massed choir ever created, alongside a moving new work by Ukrainian-Australian composer Catherine Likhuta.
Through Healers' Eyes
The concert commenced with Through Healers' Eyes, a new work by Ukrainian-Australian composer and UQ School of Music alumna Catherine Likhuta. The original version was commissioned for wind band by Brisbane Girls Grammar School, where it was premiered at their 2020 International Women’s Day musical showcase; the symphony orchestra version was commissioned by The University of Queensland’s School of Music.
Through Healers' Eyes was inspired by the life story of a Brisbane nurse, Grace Wilson—in particular, her work as a high-ranked army nurse with the Australian Army Nursing Service during World War I and the early years of World War II. Likhuta's great grandmother, Lydia Holovko, who helped raise her, was also a war nurse, though on the other side of the world—in Ukraine. This piece is an emotional depiction of war as seen by war nurses and is about healing, courage, compassion, patience, care, battle, reflection, and perseverance.
Messa da Requiem (1874)
The UQ Symphony Orchestra (UQSO) performed the Giuseppe Verdi's gigantic work Messa da Requiem (1874). When Giuseppe Verdi's close friend and compatriot Alessandro Manzoni died, he expressed his grief by composing a religious work of operatic intensity. Messa da Requiem has thrilled and moved audiences for almost 150 years. Fittingly, for music that foregrounds human dignity, the Requiem is a tribute to the beauty of the human voice, with soloists and massed choir resonating with a full symphony orchestra.
This performance featured the UQSO, UQ Chorus, Brisbane Concert Choir, and soloists Eleanor Greenwood, Tania Ferris, Carlos Barcenas, and Peter Coleman-Wright AO.
The Magic Flute
Designed and directed by Shaun Brown & Conducted by Dane Lam
The School of Music and the UQ Opera Society presented a ground-breaking performance of The Magic Flute in the Atrium of the Global Change Institute, St Lucia Campus on November 27.
Mozart's beloved opera was commissioned for a suburban theatre in and premiered in 1791 just two months before his premature death, with the composer conducting. An immediate hit with audiences in Vienna, taking the city by storm, The Magic Flute’s popularity soon spread throughout all of Europe. Today, according to data from operabase.com, it is the most performed opera worldwide, with 965 performances occurring in 146 productions in the 2021/2022 season.
The UQ production of The Magic Flute was designed and directed by Dr Shaun Brown, who led a team of UQ staff and students. It was a team effort of music-making, developing the dramatic concepts, marketing, publicity, costumes and logistics; a genuinely collaborative student-staff partnership. The performance was made possible through the creative team of UQ staff, Dr Shaun Brown, conductor Dane Lam, concert master Associate Professor Adam Chalabi, cellist Patrick Murphy, vocal coach and language specialist Sarah Crane, and repetiteurs Šárka Budínská and John Woods, and UQ production students, Zoe Seeley, Cassandra Barnett, Beth Allen, Jacalyn Adcock, Lara Miller, Sydney Smith, Amber J McMahon and Luisa Tarnawski. The event involved over 40 students and played to a sold-out audience.
City Symphony
Presented by the Queensland Music Festival in collaboration with the School of Music
From 24 June–24 July, Brisbane residents and visitors were able to experience the city through sound with only their phones, their feet, and a pair of headphones with the help of augmented reality (AR).
City Symphony, co-created by the School's Associate Professor Eve Klein, was launched in Brisbane as part of the World Science Festival’s Curiocity Brisbane.
It was the first artwork in the world to combine AR game music with places in the community.
Dr Klein said the immersive music experience combined community engagement with interactive world-building, utilising sound to create connections to place.
“The exciting interactive mobile app, City Symphony, streamed a personal cinematic soundtrack while you strolled through Brisbane’s streets and landmarks, revealing a world of audio based on your location,” Dr Klein said.
Developed in partnership with Queensland Music Festival, the augmented reality artwork overlayed all of Brisbane CBD, featuring hundreds of local artists and community members.
City Symphony was created by Dr Klein in collaboration with Ravi Glasser-Vora, an engineer, coder, and videographer currently studying mathematics and statistics at UQ.
“You can walk alongside a refugee, hear about meeting a first love, and share in secrets people tell Maiwar, the Brisbane River.”
Other musicians, artists, and storytellers featured in the exhibition include Hope D, David Hudson, Anisa Nandaula, and Kathleen Jennings.
“We took real-time information from a person’s mobile phone and combined it with environmental data to generate unique musical and story experiences for each listener,” she said.
Dr Klein said the music and stories encouraged people to explore Brisbane City, hear local music, and meet people with different life experiences. They encourage audiences to be curious about Brisbane and its people.
“Brisbane City was treated like an open-world game space to encourage people to meet someone different from themselves and feel more connected to this place we all share,” she said.
“This is a choose your own adventure, so all you need to do is download the app, pick a spot on the map, put your headphones in and start.
Promotional image for City Symphony, 2022
Promotional image for City Symphony, 2022
Corella Recordings
The School of Music launched its new record label
In 2022, the UQ School of Music launched its in-house record label, Corella Recordings. The label is both a platform for adventurous new music and a vehicle for meaningful learning experiences and personal connections through music.
In Semester 1, a team of 10 UQ Students worked together with staff to distribute, administrate, and promote the label’s first two releases, gaining hands-on industry experience and valuable new skills.
We released Geburtstag, an EP of newly commissioned works for solo violin by UQ alumnus Flora Wong, and PRIMA VOLTA, an album consisting of works for six-string electric violin and electronics by Véronique Serret, with appearances from didgeridoo master William Barton.
In September music technology students participated in recording sessions for next year’s releases, learning high-level studio recording skills in the context of authentic sessions with professional artists.
The School looks forward to an adventurous 2023 with superb releases from highly acclaimed chamber ensemble Muses Trio, UQ’s very own flute ensemble SignWaves, and Indigenous singer-songwriter and UQ Student, Durriwiyn.
Promotional videos of Véronique Serret's new release Prima Volta
Festival of the
Outback Opera
Produced by Opera Queensland in partnership with the UQ School of Music
In 2022 the UQ School of Music collaborated with Opera Queensland in their production of the Festival of Outback Opera. Two open-sky performances were held at Winton and Longreach. The performances were conducted by Dane Lam who alongside his role as Associate Music Director and Resident Conductor of Opera Queensland is lecturing in conducting and orchestral studies at UQ. The UQ Pulse Chamber Orchestra performed at these concerts and the School's string specialists Adam Chalabi and Patrick Murphy guided and mentored the students throughout the engagement. Students were immersed in a professional environment, working alongside some of Australia's finest singers and engaging with remote communities of Australia through music. This was the festival's second year and is becoming internationally recognised as an iconic operatic event.
Mr Patrick Murphy leading the lower strings section
Mr Patrick Murphy leading the lower strings section
On Friday May 20, the Dark Sky Serenade took place in crystal clear air 75 metres above the surrounding landscape at the Australian Age of Dinosaurs Museum; the concert featured the music of Verdi, Tchaikovsky, Mozart, and Tosti.
The following night the festival presented Singing in the Night; an immersed concert set at Two Tree Hill on Camden Park Station in Longreach.
Evening performance at the Festival of Outback Opera
Evening performance at the Festival of Outback Opera
The festival was an examination of opera’s relationship to the natural world. In addition to the music of Dvorak, Richard Strauss, Handel and Mahler, audiences also experienced an excerpt from Vivaldi‘s The Seasons with the UQ Pulse Chamber Orchestra.
The festival is following a rich tradition of outdoor operatic events, including country house opera festivals such as Glyndebourne and Grange Park in the UK and the more recent Bayreuth Festspiel Open Air in Germany.
Students from the UQ School of Music performing at the Festival of Outback Opera
Students from the UQ School of Music performing at the Festival of Outback Opera
Engagement Australia
2022 Excellence Awards
This year the UQ School of Music was named finalists in the Engagement Australia 2022 Excellence Awards.
These Awards identify and celebrate the most exciting engagement activities undertaken by universities that demonstrate far-reaching impact and innovation in the Australian and New Zealand economy and community.
The School of Music was recognised for its Indigenous-led learning, putting it in the running to take home the Award for Outstanding Engagement for Student Learning.
Professor Bronwyn Fredericks (Pro-Vice-Chancellor (Indigenous Engagement)) and Professor Liam Viney (Head of School, UQ School of Music) spoke about how the School was able to draw on the power of music as a vehicle for reconciliation, community engagement, and deep learning for students, audiences, and the broader community.
Live at UQ
Concert Series
Curated by Dr Shaun Brown
At the UQ School of Music we aim to serve and enrich our community through music-making. In 2022 we celebrated our relationships with the people and musical institutions of South-East Queensland and beyond, connecting with audiences both in person and through our virtual concert series. Expertly curated by Dr Shaun Brown, this year’s series proudly showcased our students, staff, and musical partners from industry, often in settings where all three groups can collaborate.
When reflecting the School’s role in the broader community, we designed a diverse and exciting program. With established international and national performing artists, as well as our own emerging student cohort. This year was a vibrant, creative, and energetic time at the School.
Since 2020 our virtual concerts have allowed the School to reach new audiences around the globe. In 2022 over 300 hours of concerts that featured students and staff from the School were watched by people in Italy, the United Kingdom, New Zealand, India, and the United States.
Dr Anne Levitsky
The School welcomed our newest
colleague and musicology specialist in 2022
In 2022 the School of Music welcomed Dr Anne Levitsky as our newest staff member. In addition to her duties at the School, Dr Levitsky teaches at the UQ Centre for Western Civilisation.
Dr Levitsky is a graduate of Stanford University and earned her PhD in Historical Musicology from Columbia University in May 2018. She is an internationally acclaimed expert in early Western Art Music with a focus on troubadour lyric poetry. Her current research examines medieval natural philosophy's impact on our understanding of the relationship between Latin scholastic sources and lyric poetry within troubadour songs.
Dr Levitsky is currently at work on two projects. The first, Sound(ing) Bodies: Song and Materiality in Troubadour Lyric Poetry, is under contract with Liverpool University Press for their series Exeter Studies in Medieval Culture. It reads troubadour lyric poetry in the context of philosophical, theological, and medical writings available in the twelfth century, and uses this analytical frame to employ new methods for the analysis of medieval monophonic song. The second project, Singing in the Reign: Song, Grammar, and Politics in the Thirteenth-Century Northern Mediterranean, explores how song is used in the courts of the northern Mediterranean in the thirteenth century to produce specific notions of space and geography, and demonstrates how Occitan song and grammars were involved in the (re)formation of these regimes.
Creative Arts and Human Flourishing Project (CAHF)
In 2021 researchers in the Schools of Music and Communication and Arts were awarded $800,000 for an initiative called Creative Arts and Human Flourishing (CAHF). The project involved leading creative arts practitioners and researchers from across these Schools, who developed a suite of arts-led research projects aimed at exploring the intersection between artistic practice and human flourishing. The initiative consolidated creative arts research networks at UQ and new cross-disciplinary research infrastructure, and connected with a wide range of existing external partners in industry, government and community.
Dr Robert Davidson facilitating a songwriting process
Dr Robert Davidson facilitating a songwriting process
Emerging perspectives through the research suggest new dimensions of value to the creative arts in human flourishing beyond well-established wellbeing and intervention models. These include the value of artistic practices in which the activity is part of the practice of flourishing, rather than merely a means toward flourishing. Could new understandings of the role of creative arts in human flourishing lead to new understandings of human flourishing itself? This project explores these ideas in the context of increasing calls to interrogate the robustness of claims about the role of creative arts in flourishing and wellbeing literature. There is room for a fresh theorisation of human flourishing that locates creative artistic practice and participation at the centre.
Dr Charu Mani leading a songwriting workshop
Dr Charu Mani leading a songwriting workshop
CAHF employed an innovative model of research co-design in which artist-researchers collaborated with multidisciplinary researchers across UQ, and with industry and community partners, to co-design projects that explore creativity and human flourishing in real-world contexts.
A symposium held on December 1st and 2nd of 2022 showcased the outcomes of the project and invited keynotes were delivered by Positive Humanities researchers James Pawelski (University of Pennsylvania) and Yerin Shim (Chungnam National University).
2022 News Stories
In 2022 the UQ School of Music continued to publish outstanding research, present world-class concerts, create breath-taking compositions, and achieve on national and international stages.
We invite our community to reflect on key moments in 2022 where staff, students, and alumni shaped and changed our world.
Friends of Music Newsletter
Stay up to date in 2023!
The UQ School of Music brings together students, staff, alumni and the general public through our UQ Friends of Music community; creating opportunities for shared and interactive experiences as part of our diverse music making activities.
If you would like to keep up to date with our latest news and events, please sign up to the Friends of Music Newsletter.
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