Biographical information given below dates from the time of publication of an article.

James McLean is a drummer from Melbourne, who works at the intersections of composed and improvised music. Best known as a sideman in the jazz genre, James has recorded with a diverse range of artists including Marc Hannaford, Eugene Ball, Joseph O’Connor and Paul Williamson. He co-leads numerous ensembles, including All Talk, Blind Spot, and Dispositions, and regularly performs solo. In 2016, James was awarded the prestigious Freedman Fellowship, becoming the first drummer to win the award.

For more information, see www.jamesmclean.info

James Nightingale is the alto saxophonist with Australia’s premier saxophone quartet, Continuum Sax, and President of the New Music Network (NMN). He has been at the heart of the direction of the NMN, serving as artistic director of the NMN Concert Series (2007-2011) and the NMN Mini-Series (2005-2008).

James completed a PhD at the University of Queensland in 2011 and holds degrees of both Master of Music (performance) and Bachelor of Music from the Sydney Conservatorium of Music. He was awarded the prize of ‘Student of the Year’ at the Sydney Conservatorium on completing his undergraduate degree in 1992.

Jamie McKew is the Director of the Port Fairy Folk Festival and a leader in the folk music area.

Dr Jan Packer is a Senior Research Fellow in the University of Queensland’s School of Tourism. Her research focuses on understanding and facilitating visitor experiences at natural and cultural tourism attractions.

Australian Music Industry Network.

National President of the Australian Society for Music Education Inc. (ASME), and Head of the Bachelor of Music Education Program in the Elder School of Music in Adelaide.

Jessie Lloyd. Originally from the tropics of North Queensland, Jessie Lloyd is an Aboriginal and Torres Strait Islander musician who performs a broad collection of Australian Indigenous songs. A vocalist, guitarist, bassist and ukulele player, Jessie earned her formal qualifications at Abmusic in Perth, WA in 2002.

An award winning composer, performer and creative entrepreneur, Jessie is a cultural practitioner of Aboriginal and Torres Strait Islander music. Dedicated to the continuation of cultural traditions through the presentation of both contemporary and traditional Indigenous music.
Jessie has travelled Australia in search of hidden songs to present this rare Indigenous narrative. From the Bass Strait to the Torres Strait and across the Arafura Sea, Jessie has spent time with Aboriginal and Torres Strait Islander senior song men and women, uncovering precious stories and songs from the mission days.

http://www.jessielloyd.com

Dr Jill Stubington is a Senior Lecturer at the School of Music and Music Education, University of New South Wales, Kensington, Sydney.

Associate Professor Jo Caust is Principal Fellow (Hon) in the School of Culture and Communication at the University of Melbourne and formerly Associate Professor in Arts and Cultural Management in the School of Management at the University of South Australia. She is Founder Editor of the Asia Pacific Journal of Arts and Cultural Management. She has published four books; Arts Leadership in Contemporary Contexts (Routledge 2018), Arts and Cultural Leadership in Asia (Routledge 2015), Arts Leadership: International Case Studies (Tilde University Press 2012) and Leadership and Creativity; understandings of this relationship in arts organisations( VDM Verlag 2009) . She is the author of many articles, book chapters, research reports and conference papers and has worked in the arts sector as an arts practitioner, manager, bureaucrat and consultant.

Jocelyn Wolfe, Adjunct Research Fellow, Queensland Conservatorium Research Centre, Griffith University. Email: j.wolfe@griffith.edu.au (corresponding author)

He graduated from WAAPA, Perth, in 2006. Luebbers is a much awarded pianist and composer, whose works have been performed not only by his own jazz ensembles but also a number of Australian orchestras. He is a lecturer at Monash University, Melbourne and co-founder of music label Listen/Hear Collective.

John Clare is a great Australian jazz writer. He was born at Maroubra Bay, Sydney, in 1940. His mother and Aunt Joan were in the papers as the Surfing Sisters. Perhaps the only women who went "out the back" and surfed in those days. He left home and school at 14. He played in a rock and roll band in Melbourne and a dance band with friends but his big love has been jazz. Clare's first job was as a layout artist for the Myer advertising department, Melbourne. He has since illustrated and written for most prestige Australian publications, as well as Town and Queen and other magazines in England, America and Germany. He has published four books and had poetry read on the ABC and BBC.

Past President, Music Teachers' Association of Queensland Inc.

John Davis. CEO, Australian Music Centre. Vice-President of the International Association of Music Information Centres (IAMIC), and of the International Society for Contemporary Music

Dr John Gardiner-Garden, Librarian (ret.), Social Policy Section at Parliamentary Library of the Commonwealth of Australia.

John H Howard is a Visiting Professor at UTS and Director of the Acton Institute for Policy Research and Innovation. He has been providing research, analysis, and advice in the area of Science Research and Innovation policy through his own consulting business for over 20 tears. Prior to that, he spent 10 years as Partner PWC and at EY. John holds a PhD in Engineering from The University of Sydney, a Master’s degree in public administration and policy from the University of Canberra and an honours degree in economics from the University of Tasmania.

John Quiggin is Professor, School of Economics, The University of Queensland

John Senczuk, a NIDA graduate, stage director/designer and theatre polymath whose career, nationally and internationally, spans over thirty years in music theatre, dance and drama. He worked concurrently as an academic, and spent fifteen years at the University of Wollongong creating and teaching courses in scenography and dramaturgy before positions at Toi Whakaari, New Zealand Drama School, and WAAPA.

As writer, John’s list of musicals includes: Time, Gentlemen!, Eureka, A Coward in Vegas, Two Old Queens and Rose and Rodeo. His Currency House Platform Paper 42: “The Time is Ripe for the Great Australian Musical” was launched in February 2015. Scene Stealers: Australian Scenography 1788-2018 will be published in 2018; and, Australian Music Theatre schedule for publication 2019.

Community Music Victoria.

Jon Rose was born in Rochester, UK and is an Australian citizen. His primary life's work is The Relative Violin. This is the development of a total artform based around the one instrument – it includes innovation in the fields of new instrument design, environmental performance, new instrumental techniques, radiophonic works, and the development of inter-active electronics.

He is featured regularly in the main festivals of New Music, Jazz, performance and Sound Art such as Ars Elektronica, Festival D’Automne, Maerzmusik, Dokumenta, North Sea Jazz Fest, New Music America, the Vienna Festival, the Berlin Jazz Festival, Moers Festival, The Melbourne Festival, The Sydney Festival, etc.

Jon Rose has appeared on over 100 albums and CD's; he has worked with many of the innovators and mavericks in contemporary music such as Kronos String Quartet, Derek Bailey, Alvin Curran, Otomo Yoshihide, Ilan Volkov, Christian Marclay, or John Zorn.

In 2012 Jon was honoured with The Music Board of The Australia Council's senior prize – the Don Banks Award for a life-time's achievement and contribution to Australian music. His book about the state of music today  "Music of Place: Reclaiming a Practice" was published by Currency House Press (2013). Jon Rose curates his own violin museum of over a 1,000 artefacts - The Rosenberg Museum.

Joseph Cummins is an academic/performer/composer living in Melbourne. He writes about contemporary Australian literature and music, plays trumpet in a variety of improvisational and world music groups, and composes music. Joseph's latest musical project aims to fuse his varied compositional tastes with the aesthetics of contemporary electronic music, and is a collaborative project with three vocalists/friends.

After studies in the Netherlands with Enrico Gatti, Julia Fredersdorff was based in Paris for almost ten years where she freelanced with some of the finest European ensembles, such as Les Talens Lyriques, Les Folies Françoises, Le Concert d’Astrée, Le Parlement de Musique, Ensemble Matheus, Les Paladins, Il Complesso Barocco, New Dutch Academy, Ensemble Aurora and Bach Concentus.

Now resident again in Australia, Julia performs regularly as concertmaster for the Orchestra of the Antipodes and is the founder and Artistic Director of the Tasmanian baroque ensemble, Van Diemen’s Band. She is a founding member of period string quartet Ironwood, and the twice ARIA-nominated baroque trio, Latitude 37 and founded the Peninsula Summer Music Festival in 2008 where she was the Artistic Director for 11 years.

Julia has participated in CD recordings for Virgin Classics, Deutsche Grammaphon, Accent, Accord, Naïve, Erato, Passacaille, Ambronay, ABC Classics, Vexations840 and Tall Poppies, and teaches baroque violin at the conservatoriums of Sydney, Hobart and Melbourne.

Professor Julian Knowles, Creative Industries Faculty, Queensland University of Technology, Brisbane

Dr Julian Meyrick is Professor of Creative Arts at Griffith University, Brisbane, Queensland.

The son of an English father and Australian mother, Julian studied politics and economics at Exeter University. He took an MA in theatre directing in the US and was later Associate Director and Literary Adviser at Melbourne Theatre Company. He has a PhD in the history of Australian theatre and was a Research Fellow at La Trobe University.

He is a co-editor of Australasian Drama Studies and Artistic Counsel for the State Theatre Company of South Australia. He is a regular media commentator on matters of Australian theatre and Australian cultural policy.

Julianne Schultz AM FAHA is the founding editor of Griffith REVIEW and a professor in the Centre for Cultural Research at Griffith University. She has written extensively about the media and is the author of Reviving the Fourth Estate: Democracy, accountability and the media (Cambridge University Press, 1998), Steel City Blues (Penguin, 1985) and the librettos for operas composed by her brother Andrew Schultz Black River and Going into Shadows. Dr Schultz was Chair of then Arts Minister Simon Crean's National Cultural Policy reference group, is Chair of the Queensland Design Council and the Australian Film Television and Radio School, and on the Board of the Australian Broadcasting Corporation and the Grattan Institute.

Dr Julie Ballantyne is a Senior Lecturer in the University of Queensland’s School of Music. Her research focuses on music teacher education and the psychological and social impact of music participation.

Entertainment Assist and the Victoria University

College CEO, Juliusmedia, Rydalmere, Sydney.

Justin MacDonnell has had a 40-year career in the arts, holding major positions in Australia, New Zealand and the USA. From 1992, he built a broad cultural exchange network between Australia and Latin American countries. He is Executive Director of the Anzarts Institute, which has conducted three studies or reviews relevant to the situation of multicultural arts in Australia.

Justin O’Connor is Professor of Cultural Economy at the University of South Australia and visiting Professor in the School of Cultural Management, Shanghai Jiaotong University. Between 2012-18 he was part of the UNESCO ‘Expert Facility’, supporting the 2005 Convention on the “Protection and Promotion of Diversity of Cultural Expressions’. Justin has produced Creative industry policy reports for the Australian Federal Government and the Tasmanian State Government, and recently for the Department of Foreign Affairs and Trade (DEFAT) on Creative Industries and Soft Power. Justin is currently working on two research projects: UNESCO and the Making of Global Cultural Policy, with a focus on the Asia-Pacific; and Urban Cultural Policy and the Changing Dynamics of Cultural Production- on cultural manufacturing and urban space. He has co- edited The Routledge Handbook of Cultural Industries (2015); Cultural Industries in Shanghai: Policy and Planning inside a Global City (2018, Intellect); Re-Imagining Creative Cities in 21st Century Asia (2020, Palgrave Macmillan) and is co-author of Red Creative: Culture and Modernity in China (2020, Intellect).

Justin O’Connor is Professor of Cultural Economy, University of South Australia. He is also visiting Professor in the Department of Cultural Industries Management, Shanghai Jiaotong University. From 2012-2018 he was Professor of Communications and Cultural Economy at Monash University. Between 2012-18 he was part of the UNESCO ‘Expert Facility’, supporting the 2005 Convention on the Protection and Promotion of Cultural Diversity.

Justin has produced Creative industry policy reports for the Australia Federal Government and the Tasmanian State Government, and for the Department of Foreign Affairs and Trade (DEFAT) on Creative Industries and Soft Power. Previously he helped set up Manchester’s Creative Industries Development Service (CIDS). He has advised cities in Europe, Russia, Korea and China. Under the UNESCO/EU Technical Assistance Programme he has worked with the Ministries of Culture in both Mauritius and Samoa to develop cultural industry strategies.

Justin is the author of the 2016 Platform Paper After the Creative Industries: Why we need a Cultural Economy; co-editor (with Kate Oakley) of the 2015 Routledge Companion to the Cultural Industries; and (with Rong Yueming ) (2018) Cultural Industries in Shanghai: Policy and Planning inside a Global City, (Intellect). He has recently published (with Xin Gu) Red Creative: Culture and Modernity in China (Intellect), and (with Xin Gu, Mike Kho Lim) Re-Imagining Creative Cities in 21st Century Asia

Kate Lidbetter is the CEO of Symphony Services International, an international provider of services and products for symphony orchestras and a service organisation for the six capital city concert orchestras originally owned by the Australian Broadcasting Corporation.

Harpsichord maker and Editor, JAAMIM, Journal of the Australian Association of Musical Instrument Makers Inc.

Music Project Officer, Bondi Pavilion Community Cultural Centre, Sydney.

Kim Forss holds a Ph.D. from the Stockholm School of Economics. Over the past 25 years, he has evaluated policy and strategy in the field of development cooperation, public administration, the national system of Parliamentary inquiries, as well as policies for research and development. His 1999 report on the export success of the Swedish music industry has long been an important reference for the MCA — the concluding chapter is featured on the knowledge base (link below).

Kim Williams has headed a wide range of prominent organisations such as Musica Viva Australia, Foxtel, the Australian Film Commission, the Sydney Opera House Trust and News Limited (now News Corp Australia). Since resigning from News Corp in 2013, he has resumed a private life and is active in civil society.

Kiri Koubaroulis has worked in the creative industries in diverse roles within local government and the non-profit sector in both the visual and performing arts. Her long running interest in arts practices informed by cultural and linguistic diversity led her to establish Arts Diaspora Inc. (2011 – 2015), producing cross-cultural concerts, community workshops and a children’s theatre show in key venues. Kiri currently works in production and marketing in the music sector.

Kirsten Tong, PhD Candidate, Queensland Conservatorium Research Centre, Griffith University. Email: kirsten.e.tong@gmail.com

Hailed by The Australian as possessing a “rare gift as a melodist” and by Limelight as expressing “both exquisite delicacy and tremendous power”, Australian composer Lachlan Skipworth writes orchestral, chamber, vocal and experimental music. His vivid musical language is coloured by three years spent in Japan where his immersion in the study of the shakuhachi bamboo flute inevitably became a part of his muse. Winning the 2014 Paul Lowin Prize for orchestral composition established Skipworth’s reputation, and led to a string of major commissions and an appointment as composer-in-residence with the West Australian Symphony Orchestra.

Past President, IAML Australian Branch. Music Librarian, State Library of Queensland.

Lawrence Harvey is Senior Lecturer, responsible for studio direction of the SIAL Sound Studios. He commenced a full-time position at RMIT in 2003, and while developing a research career since that time, has maintained a composition and sound design practice. He is completing a PhD in the School of Architecture and Design.

Lina Andonovska (Freedman Fellow 2013) is a European-based Australian flute player, and an advocate for new music. Her recent solo performance at the Melbourne International Arts Festival was hailed as ‘re-defining the act of going solo’ by The Age, and her debut record has been critically acclaimed globally. She has worked with composers including Louis Andriessen, Donnacha Dennehy, Andrew Ford, Anthony Pateras, Ann Cleare and Bryce Dessner to name a few. She has appeared with ensembles Australian Chamber Orchestra, Crash Ensemble, stargaze and with flautist Claire Chase. She is currently completing the International Ensemble Modern Academy in Frankfurt am Main, and will be appearing with eighth blackbird when the restrictions lift.

Lindy Hume is the Artistic Director of Opera Queensland.