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

Jocelyn Wolfe, Adjunct Research Fellow, Queensland Conservatorium Research Centre, Griffith University. Email: (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 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).

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:

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.

The national association of organisations in the live performing arts industry. It collects and publishes data about attendances, ticket sales, and financial value of activity in the industry, reports key trends and the reasons for them and represents the interests of the industry to governments.

Lyn Connolly, President, Australian Childcare Alliance (NSW)

Lynn Gailey was the Music Council's research manager up to 2012.

The Major Performing Arts Group (AMPAG) is an association of the 28 large performing arts companies (music, dance, theatre) funded by the Commonwealth government through the Australia Council. They account for about 25% of performing arts employment in Australia. The major orchestras, opera companies and Musica Viva are members.

A Townsville, Queensland, based musician, teacher and composer whose musical interests centre on the recorder. He regularly contributes record reviews for Music Forum but his primary occupation since 1980 has been teaching woodwinds in schools, both primary and secondary. He taught in state and independent schools in Melbourne for ten years before moving to Townsville where he has taught in state, Catholic and independent schools for twenty years.

Mandy Stefanakis is a sessional lecturer in music education at Deakin University. She was previously Director of Music at Christ Church Grammar School and Essex Heights Primary School. She is a member of the Advisory Council of The Music Trust, Assistant Editor of the Trust’s e-zine Loudmouth, past-President and a Life Member of the Association of Music Educators. She lectured in music education at the University of Melbourne where she received her Master of Education degree. She has contributed to many arts curriculum initiatives and conducted professional development to assist implement these curricula over several decades. Mandy is the author of the Australian music focused education kits, Turn it Up! She has conducted extensive interviews for the National Film and Sound Archive, is an avid composer and her obsession with piano and cello continues.

Described by Jason Moran as a pianist who has “taken full control of the music histories that interest him: from Messaien to Earl Hines...with a new sound that only comes from within him,” Marc Hannaford has established himself in the New York jazz and improvised music scene since his arrival from Australia in 2013. He has performed and recorded with improvised music luminaries such as Tim Berne, Tom Rainey, Mark Helias, and Ellery Eskelin. His 2015 release, Can You See With Two Sets of Eyes? was described as what “advanced, contemporary, improvised, virtuosic music might sound like, a decade or more into the future” (The Weekend Australian).

Marc is currently also pursing his PhD in music theory at Columbia University. His research interests include music performance, improvisation, critical identity studies, and rhythm and meter. His dissertation topic is the music of pianist and composer Muhal Richard Abrams.

Professor Margaret Kartomi, Monash University, Melbourne.

Margie Moore has extensive experience as an arts, education and music educator and administrator. She has had successful careers as a teacher, music consultant, Lecturer in Arts Education and managing the highly regarded Sydney Symphony Education Program. She is the education consultant for Moorambilla Voices, which has been benefiting Indigenous school students since 2005. In her spare time Margie enjoys singing in the Leichhardt Espresso Chorus, a community based award winning choir whose director, Michelle Leonard, founded the Moorambilla Voices and Festival. In January 2011, Margie was awarded an Order of Australia Medal for her services to Arts through Music Education.

SWOT Analysis of Music Publishing Logo SWOT.jpg Contents [hide]General Manager of the Australasian Music Publishers Association Limited (AMPAL). Former MCA music publishing delegate

Dr Mark Carroll, University of Adelaide.

Mark Isaacs is an internationally-acclaimed composer, pianist and conductor in classical music and jazz. He has composed over 100 works and received many awards including the Albert H. Maggs Composition Award and the Jean Bogan Prize for Piano Composition. His first symphony was premiered by QSO in 2013. Last year he conducted the premiere of his chamber symphony with Omega Ensemble and also conducted the Queensland Conservatorium Symphony Orchestra in a concert of his orchestral works. In jazz he has recorded and toured with the artform’s most distinguished international figures and has twice been nominated for the ARIA Award.

Martin Wesley-Smith taught composition at the Sydney Conservatorium of Music from 1974 to 2000. Since then he has lived in Kangaroo Valley, New South Wales. His output, ranging from children’s songs to multimedia pieces, covers two main themes: the life, work and ideas of Lewis Carroll (e.g. Boojum!), and the plight of the people of East Timor (e.g. Welcome to the Hotel Turismo). His twin brother, Peter Wesley-Smith, writes most of his lyrics and libretti; their 70th birthday, in 2015, was celebrated with concerts in Canberra, Kangaroo Valley and Sydney.

Musica Viva Australia.

Saxophonist Matt Keegan regularly performs throughout Australia and around the world. In 2011, Keegan won the prestigious MCA Freedman Fellowship for jazz which has enabled him to develop his cross cultural group from India and Australia, The Three Seas.  As a composer and band leader he has recorded six albums of original material and been commissioned to write works for the Australian High Commission in Thailand; The Zephyr String Quartet; and  Elisian Fields.  He has arranged horn sections for artists including; Passenger; Emma Pask; Pat Powell; Ray Beadle; and the TV show The Voice.   As a sideman Keegan has worked with a diverse array of artists including;  The Phil Slater Quintet; The Stu Hunter Band; Jimmy Barnes; The Beautiful GirlsDarren Percival; James MullerMark Isaacs Resurgence Band; the Jazzgroove Mothership Orchestra; Jackie Orszaczky; The Japan Australia Jazz Orchestra (JPN); and Maroon 5 (USA). 

A founding member of Australian chamber groups Arcadia Winds and Ensemble Françaix, Matthew Kneale is making his name as a leading bassoonist of his generation. He is a graduate of the Queensland Conservatorium of Music, and in addition to critically acclaimed solo and ensemble performances, has served as casual bassoonist with the Melbourne, Adelaide, Queensland and Tasmanian Symphony Orchestras. His repertoire ranges from traditional masterpieces to recent compositions by György Ligeti, Brett Dean, Paul Dean, Peter de Jager and Lachlan Skipworth, among others. In 2018, Matthew will give the world premiere of Holly Harrison's new work for bassoon and string quartet as part of the Canberra Symphony Orchestra's Australian Series. Matthew is also the 2017 Freedman Fellow, embarking on a world bassoon tour as part of the fellowship