Kirsty Beilharz

                   composer, researcher, educator, theologian, philosopher, musician, author

Dr. Kirsty Beilharz is a composer, researcher, educator, author, musician, philosopher and theologian. She is Professor and Program Director of integrative studies at Excelsia College, Australia. Her current research includes student formation, in Australian higher education for students from ethnically, culturally and religiously diverse backgrounds; ethics and theology of inclusion and care for marginalised people, especially the elderly and women. Kirsty's research has been funded by Australian Research Council grants.

Previously, Kirsty was a researcher at the University of Notre Dame (Australia) Institute for Ethics & Society (Bioethics & Healthcare Ethics) in collaboration with St. Vincent's Health Network; Senior Creative Fellow at Anglican Deaconess Ministries, HammondCare; Kolling Institute of Research; adjunct of the University of NSW; and Visiting Fellow at the University of Edinburgh U.K. She was Professor of Music and Interaction Design at the University of Technology, Sydney; and Digital Media program director at the University of Sydney. 

Kirsty studied music performance and composition at the University of Sydney (BMus Hons 1st class & PhD, with Peter Sculthorpe) and postdoctoral studies at the University of York (with Nicola LeFanu). In 2014, she commenced a PhD on theological symbolism in the music of Olivier Messiaen through the phenomenological lens of hermeneutist Jean-Luc Marion, at Sydney College of Divinity. 

Kirsty's music compositions have been performed internationally by the Nouvel Ensemble Moderne (Montreal, Canada), Ensemble Recherche (Freiburg, Germany), Charisma Ensemble, and in Australia by the Sydney, Melbourne, Tasmanian and Western Australian Symphony Orchestras. Kirsty's installations have been exhibited at the Media Architecture Biennale in Vienna, Bondi Sculpture by the Sea, Paris Cité International des Arts, Sydney Powerhouse Museum, and in the U.K., Taiwan, Japan and Paris. 

She has won International prizes at Gaudeamus World Music Days Amsterdam, Paris Rostrum, Hannover Biennale, Nouvel Ensemble Moderne Forum Montreal, and commissions by the Australian Chamber Orchestra, Seymour Group, and AustraLYSIS. Kirsty was selected for IRCAM Electronic Music Course, Matsumae International Science Research Fellowship (AI Lab Tokyo), an Asialink Arts Residency, Young Australian of the Year Arts Category, a Churchill Fellowship, the Sir Charles Mackerras Prize of the British Council, and prizes in the World Bass Clarinet composition competition, and Angoulême Colloque International du Basson composition prize. 

Kirsty also enjoys reading, photography, painting, sustainable community gardening, and practicing viola, flute, and shakuhachi.

Publications

(2017) Music Remembers Me: Connection and Wellbeing in Dementia. HammondCare Media, ISBN 978-0-9945461-1-1.

(2020) Beilharz, K. Ageing well: music and meaning in dementia and de-medicalising palliative care. In Embracing life and gathering wisdom: Theological, pastoral and clinical insights into human flourishing at the end of life. SCD Press, in press.

(2020) Beilharz, K. Human Flourishing until death: Living well until the very end. In Smith, D. (Ed.) Human Flourishing, Wipf & Stock, in press.

(2018) Beilharz K. Music Engagement and Music Therapy. In: MacLeod R, Van den Block L (ed.s) Textbook of Palliative Care (Springer Cham) https://doi.org/10.1007/978-3-319-31738-0_39-1, pp.1-22 08/06/2018 ISBN 978-3-319-31738-0 (Biomedical and Life Sciences).

(2018) Beilharz K., Poulos C., Poulos R., Fodera J., Cole A., MacLeod R. Creative Art Making in Palliative Care. In: MacLeod R., Van den Block L. (eds) Textbook of Palliative Care. (Springer, Cham) https://doi.org/10.1007/978-3-319-31738-0_38-1. ISBN978-3-319-31738-0.

(2017) Beilharz, K. 'Grace and Nurture: Connecting and Engaging Through Music in Dementia Care’ in Doru Costache, Darren Cronshaw, James R. Harrison (Ed.s) Well-being, Personal Wholeness and the Social Fabric, Cambridge: Cambridge Scholars Press, 2017) ISBN-13: 978-1-4438-9858-4) pp. 184-208.

(2014) Mills, Roger & Beilharz, K. ‘The Network Unveiled: Evaluating Intercultural Musical Interaction in Telematic Improvisational Performance’ in Candy, L. & Edmonds, E. (Ed.s) Art Evaluation and HCI, Springer.

(2012) Beilharz, K. Chapter 17: ‘Information Engagement through Interactive Sonification Design’ in Gu, N. & Wang, X. (Ed.s) Computational Design Methods and Technologies: Application in CAD, CAM and CAE Education, IGI-Global, DOI: 10.4018/978-1-61350-180-1.ch017, pp. 299-318.

(2006) Beilharz, K. 'Sonic Islands' in (Ed.) Joanne Jakovich, Cuttings: Urban Islands vol.1, University of Sydney Press, pp.73-87, ISBN 1-920898-55-7. 

(2019) 'Encountering the Trinity through a sacramental framing of music: Participation and analogy in Olivier Messiaen’s Quatour pour la fin du temps (Quartet for the End of Time) in Special themed edition – Embodied spiritual practice(s) ed. Darren Cronshaw, Practical Theology Volume 12: Issue 2 (2019). https://www.tandfonline.com/eprint/TieaidAAk6Ae9jeuUw3K/full?target=10.1080/1756073X.2019.1598699

(2018) Poulos R.G, Marwood S., Harkin D., Opher, S., Clift S., Cole A.M.D., Beilharz, K., Poulos, C.J. 'Arts on prescription for community dwelling older people with a range of health and wellness needs’ in Health & Social Care in the Community. Wiley. First published: 21 October 2018. https://doi.org/10.1111/hsc.12669.

(2018) Beilharz, K. 'Applications of Trinitarian analogy in contemporary thought and the potential for Eucharistic encounter in Olivier Messiaen’s music’ in Phronema, Journal of St. Andrew’s Greek Orthodox College, Vol. 33 No.2 December 2018.

(2012) Mills, R. & Beilharz, K. 'Listening through the Firewall: Semiotics of Sound in Networked Improvisation' in Landy, L. (Ed.) Organised Sound: An International Journal of Music and Technology, Volume 17, Issue 01, Special Issue ‘Networked Electroacoustic Music’, Cambridge Journals, Cambridge University Press, pp. 16-27.

(2011) Ferguson, S., Beilharz, K.A., and Calo, C.A. ‘Principles for tabletop computing in interactive sonification and visualisation of data’ in Hermann, T., Bresin, R., and Hunt, A. (Ed.s) Journal on Multimodal User Interfaces, Springer http://www.springer.com/computer/hci/journal/12193, JMUI-D-11-00018R1.

(2011) 'Embodied music controllers: Cyborg precision for gestural interaction' in Social Semiotics Journal, Special Edition 'Touch', Taylor and Francis, DOI:10.1080/10350330.2011.591997, pp. 547-568. 

(2008) 'Interactive instrumental performance and gesture sonification' in (Ed.) Anne Cranny-Francis SCAN Journal of Media Arts Culture Vol. 5 Number 3 December 2008 (ISSN 1449-1818) http://scan.net.au/scan/journal/display.php?journal_id=122.

(2008) Visual Communication - Beilharz, K. & Vande Moere, A.: 'Sonic drapery as a folding metaphor for a wearable visualization and sonification display' Vol. 7, No. 3, 271-290 (2008) DOI: 10.1177/1470357208092320 SAGE Publications.

(2007) Song, H.J. & Beilharz, K. 'Concurrent Auditory Stream Discrimination in Auditory Graphing' in International Journal of Computers, NAUN, Issue 3, vol.3 no.1, ISSN: 1998-4308, pp.79-87.

(2007) Jakovich, J. & Beilharz, K. 'Interaction as a Medium in Architectural Design' in (Ed.) Edmonds, E. 'Transactions', Leonardo: Journal of Art, Science and Technology, MIT Press, pp.368-9.

(2006) Jakovich, J., Beilharz, K., & Echanove, M. 'Symbiosis between Participation and System Design: From Interactive Art to Urban Development' in CoDesign, Taylor & Francis, vol.2 no.4, Dec. 2006, pp.249-257, U.K. DOI: 10.1080/15710880601008067.

(2004) Beilharz, K. 'Designing Sounds and Spaces: Interdisciplinary Rules & Proportions in Generative Stochastic Music and Architecture' in Journal of Design Research, 4 (3): http://jdr.tudelft.nl/or http://www.inderscience.com/jdr/backfiles/articles/issue2004.02/Art2.html 

Professional journals
(2017) Australian Ageing Agenda June.

(2016) Australian Ageing Agenda February.

(2016) ‘Engaging and connecting through music: enablement in practice’ in Australian Journal of Dementia Care, Vol. 5 No.1 February/March, pp. 21-25. 

(2012) Beilharz, K. & Martin, A. 'The "Interface" in Site-Specific Sound Installation' in Proceedings of the New Interfaces for Musical Expression Conference, Ann Arbor MI, USA, 20-23 May 2012, http://www.eecs.umich.edu/nime2012/Proceedings/papers/175_Final_Manuscript.pdf.

(2012) Martin, A. & Beilharz, K. 'Windtraces: Accessible Sonic Art' in Docherty, M. & Hitchcock, M. (Ed.s) Proceedings of Apple CreateWorld 2011 Conference, Brisbane 28-30 Nov 2011, ISBN: 978-0-947209-38-4, Apple University Consortium Australia, pp. 64-71.

(2011) Haeusler, M. & Beilharz, K. ‘[Architecture = Computer] – from computational to computing environments’ in Proceedings of CAAD Futures, Liège, Belgium, 6-8 June 2011, ISBN: 978-2-8745-6142-9, pp. 217-232 http://cumincad.scix.net/cgi-bin/works/Show?cf2011_p019.

(2011) Mills, R.H. & Beilharz, K. ‘Distant Presences: Case Studies of Intercultural Transferences in Networked Improvisatory Performance’ in Proceedings of the Digital Resources for the Humanities and Arts 2011 Conference, 4-7 September 2011, University of Nottingham Ningbo, China.

(2011) Mills, R.H. & Beilharz, K. ‘Ethernet Orchestra: Intercultural Engagement through Networked Improvisatory Performance’ in Proceedings of the 17th International Symposium on Electronic Art, Istanbul, Turkey, 14-21 September 2011, pp. 1-7.

(2010) Haeusler, M., Beilharz, K. and Barker, T. 'Interactive Polymedia Pixel and Protocol for Collaborative Creative Content Generation on Urban Digital Media Displays', International Conference on New Media and Interactivity, Istanbul, Turkey, 28-30 April 2010.

(2010) Beilharz, K., Vande Moere, A., Stiel, B., Calo, C.A., Tomitsch, M., and Lombard, A. 'Expressive Wearable Sonification and Visualisation: Design and Evaluation of a Flexible Display' in Proceedings of New Interfaces for Musical Expression, Sydney, Australia, 15-18 June 2010, 323-326.

(2010) Martin, A., Ferguson, S. and Beilharz, K. 'Mechanisms for Controlling Complex Sound Sources: Applications to Guitar Feedback Control', in Proceedings of New Interfaces for Musical Expression, Sydney, Australia, 15-18 June 2010, 364-367.

(2010) Nugroho, J. and Beilharz, K. 'Framework for Understanding and Evaluating User Centred Design in Wearable Expressions', in Proceedings of New Interfaces for Musical Expression, Sydney, Australia, 15-18 June 2010, 327-330.

(2009) Beilharz, K., Ferguson, S. 'An Interface and Framework Design for Interactive Aesthetic Sonification' in (Ed.s) Aramaki, M., Kronland-Martinet, R., Ystad, S. & Jensen, K. Proceedings of the 15th International Conference on Auditory Display, Copenhagen, Denmark, May 18-22, ISBN 978-87-7606-033-6, http://www.icad.org/Proceedings/2009/BeilharzFerguson2009.pdf

(2009) Ferguson, S., Beilharz, K. 'An Interface for Live Interactive Sonification' in Proceedings of New Interfaces for Musical Expression (NIME), Carnegie Mellon University Pittsburgh PA, 4-6 June, pp.35-36.

(2009) Beilharz, K. 'Gesture Sonification in Interactive Instrumental Music Performance' in Proceedings of Hawaii International Conference on Arts and Humanities, Jan 9-12, Honolulu HI, pp.389-400.
(2009) Beilharz, K. and Ferguson, S. 'Aesthetic Sonification Toolkit for Real-time Interaction with Data' in Proceedings of Hawaii International Conference on Arts and Humanities, Jan 9-12, Honolulu HI, pp.401-408.

(2009) Nugroho, J. and Beilharz, K. 'Wireless Gamelan (Spatial RFID Cyborg Sonic Interaction)' in Proceedings of Hawaii International Conference on Arts and Humanities, Jan 9-12, Honolulu HI, pp.3006-3013.

(2008) Song, H.J. and Beilharz, K. 'Aesthetic and Auditory Enhancements for Multi-stream Information Sonification' in Proceedings of DIMEA 2008 3rd ACM International Conference on Digital Interactive Media in Entertainment & Arts, Athens Greece, pp.224-231.

(2008) Song, H.J. and Beilharz, K. 'Information Sonification Changing the Culture of Communication' in Proceedings of Young Investigator's Forum on Culture Technology 2008, August 22-24 KAIST, Korea.

(2007) Song, H.J. and Beilharz, K. 'Exploration of Spatialization and Timbre towards Effective Divided Attention in Auditory Graphing' in 8th WSEAS (World Scientific and Engineering Academy and Society) International Conference on Acoustics and Music: Theory and Applications (AMTA '07), Vancouver, Canada, June 19-21, 2007, pp.18-26.

(2007) Song, H.J. and Beilharz, K. and Cabrera, D. 'Evaluation of Spatial Presentation in Sonification for Identifying Concurrent Audio Streams' in Proceedings of International Conference on Auditory Display, Montreal, Canada, pp.285-292.

(2007) Beilharz, K. & Ferguson, S. 'Gestural Hyper Instrument Collaboration with Generative Computation for Real Time Creativity' in (Ed.s) Fischer, G., Giaccardi, E., & Eisenberg, M. Creativity and Cognition Conference '07, Washington D.C. USA, ACM CHI Sheridan Printing, pp.213-222.

(2007) Jakovich, J. & Beilharz, K. 'ParticleTecture: Interactive Granular Soundspaces for Living and Entertainment' in Proceedings of New Interfaces for Musical Expression (NIME'07) NYC, pp.185-190.

(2006) Jakovich, J. & Beilharz, K. 'From Audience to Inhabitant: Interaction as a medium in architecture' in Proceedings of Engage: Interaction, Art & Audience Experience - CCS / ACID Symposium, Creativity and Cognition Studios Press, pp.40-49, ISBN 978-0-9751533-4-5.

(2006) Beilharz, K., Ferguson, S., Song, H.J. & Cabrera, D. 'An Interactive Approach for Teaching Information Sonification' in Proceedings of International Conference of Auditory Display (ICAD), London, pp.164-171.

(2006) Cabrera, D., Ferguson, S., Beilharz, K. & Song, H.J. 'Using Psychoacoustical Models for Auditory Display' in Proceedings of International Conference of Auditory Display (ICAD), London, pp.113-120.

(2006) Beilharz, K., Jakovich, J. & Ferguson, S. 'Hyper-Shaku (Border-Crossing): Towards the Multi-modal Gesture-controlled Hyper-Instrument' in Proceedings of New Interfaces for Musical Expression (NIME), IRCAM, Paris, pp.352-357.

(2005) Beilharz, K. Integrating Computational Generative Processes in Acoustic Music Composition, in Edmonds, E., Brown, P. and Burraston, D. (Ed.s) Generative Arts Practice '05: A Creativity and Cognition Symposium, University of Technology Sydney, pp. 5-20.

(2005) Beilharz, K. Gesture-Controlled Interaction with Aesthetic Information Sonification, in Pisan, Y. (Ed.) The Second Australasian Conference on Interactive Entertainment, Sydney, pp. 11-18.

(2005) Beilharz, K. Wireless Gesture Controllers to Affect Information Sonification, in Brazil, E. (Ed.) ICAD, Limerick, Ireland, CD-ROM proceedings July.
(2005) Beilharz, K. Architecture as the Computer Interface: 3D Gestural Interaction with Socio-Spatial Sonification, in Duarte, J.P., Ducla-Soares, G. and Zita Sampio, A. (Ed.s) Digital Design: The Quest for New Paradigms - eCAADe Proceedings, Lisbon, pp. 763-770.

(2005) Jakovich, J. & Beilharz, K. A Framework for the Extension of Kinaesthetic Modality to the Design of Sensate Spaces, in Duarte, J.P., Ducla-Soares, G. and Zita Sampio, A. (Ed.s) Digital Design: The Quest for New Paradigms, eCAADe Proceedings, Lisbon, pp. 427-432.

(2005) Song, H. J. and Beilharz, K. Time-based Sonification for Information Representation, in World Multi-Conference on Systemics, Cybernetics and Informatics, Orlando, USA, pp.376-380. Best Paper Award in session: Image, Acoustic, Speech and Signal Processing.

(2005) Beilharz, K. Responsive Sensate Environments: Past and Future Directions: Designing Space as an Interface with Socio-Spatial Information, in B. Martens and A. Brown (eds), CAAD Futures, Springer Verlag; Vienna, pp. 361-370.

(2004) Beilharz, K. (Criteria & Aesthetics for) Mapping Social Behaviour to Real Time Generative Structures for Ambient Auditory Display (Interactive Sonification), in INTERACTION - Systems, Practice and Theory: A Creativity & Cognition Symposium hosted by The Dynamic Design Research Group, Creativity and Cognition Press, UTS, Sydney, pp. 75-102.

(2004) Beilharz, K. Interactively Determined Generative Sound Design for Sensate Environments, in Sound and Music Computing, in Sound and Music Computing Conference, IRCAM, Paris, pp. 193-200.

(2004) Beilharz, K. Building Intelligence – Ambient Visualization and Sonification in Social Sensate Spaces, in Proceedings of the 38th Australian & New Zealand Architectural Science Association (ANZAScA) Conference, University of Tasmania, Hobart, pp. 71-77.

(2004) Vande Moere, A. and Beilharz, K. Interaction Design for Smart Spaces – a Constructivist Design Studio, in Proceedings of the 38th Australian & New Zealand Architectural Science Association (ANZAScA) Conference, University of Tasmania, Hobart, 335-342.

(2004) Reffat, R. M. and Beilharz, K. A Framework of Semantic-based Agents to Support Designing in Virtual Environments, Proceedings of the 10th International Multimedia Modeling Conference '04: 167-172, IEEE Computer Society, Washington, DC, USA.

(2004) Beilharz, K. Designing Generative Sound for Responsive 3D Digital Environment Interaction, in CAADRIA'04 (Computer Aided Architecture Design Research in Asia), Seoul, Korea, pp. 741-757.

(2004) Beilharz, K. Interactively Determined Generative Sound Design for Sensate Environments: Extending Cyborg Control, in Y. Pisan (eds), Interactive Entertainment '04, Creativity and Cognition Studios, University of Technology, Sydney, pp. 11-18.

(2003) Reffat, R. M. and Beilharz, K. A New Perspective of Transforming the Use of CAAD in Designing the Built Environment, ANZAScA Conference, Faculty of Architecture, University of Sydney: 494-501.

(2003) Beilharz, K. Designing Responsive Sound for 3D Digital Environments, in S. Hayman (eds), Proceedings of the 37th Australian & New Zealand Architectural Science Association (ANZAScA) Conference, Faculty of Architecture, University of Sydney, pp. 117-130.

(2003) Beilharz, K. Designing Sounds and Spaces: Interdisciplinary Rules & Proportions in Generative Stochastic Music and Architecture, in N. Cross and E. Edmonds (eds), Expertise in Design - Design Thinking Research, Creativity and Cognition Studios Press, UTS Sydney, pp. 3-21. 

EDITED PROCEEDINGS
Beilharz, K., Johnston, A., Ferguson, S., and Chen, A.Y-C. (2010) Proceedings of the 2010 Conference on New Interfaces for Musical Expression (NIME), Sydney, University of Technology, Sydney, Australia. ISBN: 978-0-646-53482-4 (printed proceedings, CD-ROM proceedings & available online) 504 pages. 

PEER REVIEWED CONFERENCE POSTERS
Beilharz, K. (2006). Interactive Generative Processes for Designing Sound Generative Music Composition: Interactive Generative Installation Design and Responsive Spatialisation (Poster) in Gero, J.S. (Ed.) Proceedings of the Design Computing and Cognition Conference, Kluwer, in press 17/02/06.

Jakovich, J. and Beilharz, K. (2005). 'Sonic Tai Chi': Auditory Gestures in Reactive Soundspaces (Demo paper and installation) in Pisan, Y. (Ed.) The Second Australasian Conference on Interactive Entertainment, Sydney: 243.

Song, H.J. and Beilharz, K. (2006) Sonification Guidelines Facilitating an Intuitive and Rapid Understanding/Interpretation (Poster) in Proceedings of the 12th International Multimedia Modeling Conference, Beijing, China, IEEE Press, in press 17/10/05.

Song, H.J. and Beilharz, K. (2006) The role of spatialized sonification enhancing discriminating auditory display (Poster) in 11th Conference of Computer Aided Architecture Design Research in Asia (CAADRIA).

Beilharz, K. and Reffat, R. M. (2004). Thematic Design and Efficiency in Virtual Environments Using Metaphors, Proceedings of the 10th International Multimedia Modelling Conference '04 (Poster): 371, IEEE Computer Society, Washington, DC, USA. Apple™ Best Presentation Award.

Beilharz, K. (2002). An Intelligent Dynamic Design Collaborator, Proceedings of the Artificial Intelligence in Design '02 Conference: Poster & CD-ROM. 

2018: Music and sound deisgn for W;t, Joining the Dots Theatre Company's production Noosa, Australia.

2018: Beilharz, K. Torque 2, USA.

2016: Beilharz, K. Diamond Quills: A Study of Time, Death and the Harbour music composition performed by Charisma Ensemble, Sydney Conservatorium of Music Recital Hall West.

2015: Beilharz, K. Diamond Quills: A Study of Time, Death and the Harbour music composition performed by Charisma Ensemble, Rozelle.

2011: Beilharz, K. Prism for bass clarinet and electroacoustic spatial diffusion, performed by Ros Dunlop at 'diffuse' concert 8 September, Bon Marche Studio, UTS.

2011: Beilharz, K. Prism for bass clarinet and electroacoustic spatial diffusion, performed by Ros Dunlop at 2011 Single Reed Convention, Melbourne.

2010: Beilharz, K. Diamond Quills: A Study of Time, Death and the Harbour music composition performed by Charisma Ensemble, Sydney Conservatorium of Music Recital Hall West.

2010: Beilharz, K. Diamond Quills: A Study of Time, Death and the Harbour electro-acoustic composition performed by Charisma Ensemble & Beilharz (computer), New Interfaces for Musical Expression Conference Concert, ABC Eugene Goossens Hall.

2008: Earth Essences: Air, Earth, Water, Stars for clarinet / bass clarinet & double bass (1993), performed by Roslyn Dunlop and Julia Ryder, Conservatorium of Music, Recital Hall West, Sydney.

2005: Tasmanian Wilderness Soundscapes (audio-visual), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Bamboo Voice (audio-visual), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Breath Sculpt (electronic), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Paris Metro (audio-visual), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Aurorean Ritual, performed by the Sydney Symphonia Orchestra conducted by Richard Gill, Symphony Australia and Ars Musica Australis commission, Angel Place City Recital Hall, Sydney.

2004: Burnished, performed by Plastic Atlas - Kathleen Gallagher solo piccolo, Old Darlington School, University of Sydney.

2004: Floriferous Rage, performed by Plastic Atlas - Andrew Robbie solo piano, Old Darlington School, University of Sydney.

2004: Wreathed in Flames, performed by Plastic Atlas - Michael Hooper solo mandolin, Old Darlington School, University of Sydney.

2004: MicroPlasty performed by Plastic Atlas trio Old Darlington School, University of Sydney

2002: Vortex, performed by the Sydney Symphony Sinfonia conducted by Richard Gill, Symphony Australia Commission, Angel Place Recital Hall, Sydney.

2001: Floriferous Rage, performed by pianist Andrew Robbie, Jean Bogan Memorial Prize for Piano Composition, University of Newcastle, November 26 on Stuart piano.

2001: Between Five Bells, Barossa Music Festival, conducted by Lorraine Vaillancourt and Lights ensemble, South Australia.

2000: Floriferous Rage, performed by pianist Andrew Robbie, Composers' Concert, University of Sydney.

2000: Wreathed in Flames, performed by mandolinist Michael Hooper, University of Sydney Honours Recital.

1999: Biennale Neue Musik Hannover 1999, The White Face of the Geisha / Das weiße Gesicht der Geisha Music Theatre Chamber Concerto for shakuhachi and ensemble by the Ensemble Recherche Freiberg.

1998: Burning in the Heart of the Void, Nouvel Ensemble Moderne, Montréal, Québec, conducted by Lorraine Vaillancourt.

1998: Objeu Doré - Brisbane Festival, Queensland.

1998: Fires That Burn in the Heart of the Void Western Australian Symphony Orchestra Twentieth Century Ensemble, ABC Young Composers' Competition, conducted by Roger Smalley.

1998: Like a Gorgon's Head, Winter String Academy, Adelaide, Chantarelle String Quartet.

1997: spirale ...a guisa di spira - Tasmanian Symphony Orchestra, Hobart.

1997: Objeu Doré - Composing Women's Festival, Sydney.1997: Fray Mandolin Quartet - Composing Women's Festival, Sydney.

1997: Between Five Bells, Asian Contemporary Music Festival, Manila, Philippines.

1997: assonans (Assonance) for cello and piano - Lewis & Yong, CelloMania, Sydney.

1996: Between Five Bells, New Music Ensemble of the Sweelinck Conservatory, conducted by Harry Sparnaay, Beurs van Berlage, Amsterdam.

1995: Voice of the Forest, Australian Computer Music Association, Sydney.

1995: Between Five Bells, Coruscations, Sydney.

1993: Nuances, The Seymour Group, Sydney.

1993: Fluxus for String Orchestra, Australian Chamber Orchestra, Sydney.

1993: Uluru, Contemporary Singers, Sydney.

1993: Uluru, Sydney Philharmonia Motet Choir, Sydney Horizons Festival.

1992: Earth Essence, AustraLYSIS, Sydney & Perth.

1992: Plutonium, for symphony orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Western Australian Symphony Orchestra, Tasmanian Symphony Orchestra, conducted by Nicholas Braithwaite & Sir Vernon Handley.

1991: Machupicchu, The Seymour Group, Belvoir Street Theatre, Sydney.

1990: Multiplexus, The Seymour Group, Belvoir Street Theatre, Sydney.

1989: Torque 2, performed by Nigel Westlake & Michael Askill.

1988: Pompeii performed by Swedish guitarist, Magnus Andersson. 

Scores and selected recordings are available from the Australian Music Centre.
Selected works are published by Peter Tonger Musik Verlag, Cologne Germany. 

Orchestral
Aurorean Ritual for symphony orchestra (2004), duration 5 minutes first performed by Sydney Symphonia, commissioned by Symphony Australia and Ars Musica Australis, conducted by Richard Gill, Angel Place Recital Hall, Sydney

Vortex for symphony orchestra (2002), duration: 6 minutes first performed by Sydney Symphony Sinfonia, commissioned by Symphony Australia, conducted by Richard Gill, Angel Place Recital Hall, Sydney

Blueshift for string orchestra (1989), duration: 14 minutes first performed by Sydney Youth Orchestra
Scenes from a Nomadic Life for orchestra (1991), duration: 11 minutes first performed by Sydney University Symphony Orchestra

Plutonium for orchestra (1992), duration: 5 minutes performed by Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, Western Australian Symphony Orchestra

Fluxus III for string orchestra (1992), duration: 8 minutes first performed by the Australian Chamber Orchestra

Fractal Chambers for orchestra (1993), duration: 18 minutes first performed by Sydney University Symphony Orchestra

Desert Bird, Brolga for amateur chamber orchestra (1995), duration: 7 minutes first performed by Abbotsleigh Chamber Orchestra

Spirale ... a guisa di spira for orchestra (1997), duration: 12 minutes first performed by Tasmanian Symphony Orchestra

Instrumental (Solos & Duos)
Prism for bass clarinet and spatialised electronic diffusion (2011), duration 10 minutes

Diaphanous Granules for solo piano (2005), duration: 11 minutes

Fluid Sinews for bass clarinet and piano duo (2005), duration: 8 minutes. Highly commended in World Bass Clarinet composition competition, Netherlands

Splintered Veins of Tide for solo flute (2005), duration 5 minutes

Shards of Silk for violin and piano duo (2005), duration 10 minutes

Torque 2 for clarinet / bass clarinet & percussion (1990), duration: 7 minutes first performed by Nigel Westlake & Michael Askill

Fluxus II for violin & piano (1992), duration: 12 minutes first performed by Kirsty Beilharz & Simon Docking

Earth Essence for clarinet / bass clarinet & double bass (1993), duration: 16 minutes first performed by AustraLYSIS

Voice of the Forest for electronics, violin, voice, percussion (1995), performer-composer collaboration with Gordon Monro, duration: 12 minutes first performed by Gordon Monro & Kirsty Beilharz

Objeu Doré for alto saxophone & percussion (1997), duration: 24 minutes performed by Margery Smith & David Hewitt, & at Brisbane Festival

Assonans for cello and piano (1997), duration: 12 minutes first performed by Eleanor Lewis & Kerry Yong

Gecko on Desert Sand for tenor recorder & Japanese rin (1991), duration: 3 minutes first performed by Ian Shanahan

Silences for piano (1995), duration: 9 minutes

Flowforms for flute (1992), duration: 9 minutes first performed by Amanda Chominsky

Burnished for piccolo (1995), duration: 6.5 minutes first performed by Amanda Chominsky

Floriferous Rage for solo piano (1999), duration: 14 minutes first performed by Andrew Robbie

Wreathed in Flames for solo mandolin (2000), duration: 10 minutes first performed by Michael Hooper

Chamber Music
Diamond Quills for bass clarinet, cello and piano (2010) and live electronics version, duration 12 minutes. For Charisma Ensemble, first performed by Charisma Ensemble, Eugene Goossens Hall ABC Ultimo Centre, at New Interfaces for Musical Expression.

Winter Reibo for solo shakuhachi, guitar, 2 violins and 'cello (2008), duration 14 minutes

Tide-etched Sand Spirals (spirales de sable gravées par la marée) for bassoon, violin, cello and piano (2005), duration: 14 minutes. 2nd prize Colloque du Basson composition competition, France.

MicroPlasty for mandolin, flute & piano (2004), duration: 9 minutes, first performed by Plastic Atlas Trio

Red Ochre for bass clarinet, bass oboe and double bass (1996/7), duration: 12 minutes first performed by Bass Instincts

Fray (...Thread, Stitch, Fray...) for 2 mandolins (1 solo & amplified), mandola and guitar (1997), duration: 17 minutes first performed by Sydney Mandolin Quartet

Fires that Burn in the Heart of the Void for flute / piccolo, oboe, clarinet / bass clarinet, contrabassoon, horn, trumpet, trombone, tuba, harp, percussion, 2 violins, viola, cello & double bass (1998), duration: 8 minutes first performed by ABC WASO Twentieth Century Ensemble

Burning in the Heart of the Void for flute, oboe, clarinet, bass clarinet, bassoon / contrabassoon, horn, trumpet, trombone, piano, percussion, 2 violins, viola, violoncello, double bass (1998), duration: 15 minutes first performed by LeNouvel Ensemble Moderne Montreal, Quebec

Scaramouches au Ciel for bassoon, violoncello & piano (1998), duration: 12 minutes for Michel Bettez, Quebec

Moon Song for baritone voice, cello & percussion (1993), duration: 4 minutes

Soliloquy for soprano voice, flute / piccolo, clarinet, piano & violin (1994), duration: 7 minutes first performed by Marianne Powles & Coruscations

Zephyrs for soprano voice, flute, violin & piano (1994), duration: 10 minutes

Choral & Music Theatre
Uluru for 8 vocal parts (chamber choir) (1991), duration: 5 minutes performed by Contemporary Singers & Sydney Philharmonia Motet Choir

The White Face of the Geisha for solo shakuhachi (Japanese bamboo flute) and ensemble. Performed by Ensemble Recherche Freiburg at Hannover Biennale 2000, Iwamoto Yoshikazu (shakuhachi soloist), conducted by Bohdan Shved, duration: 27 minutes. Awarded International Composition Competition Prize DM.8,000.

Electronic
2011: Prism for bass clarinet and electroacoustic spatial diffusion, Melbourne and Bon Marche Studio, University of Technology, Sydney.

2006: Fabrication (II): The Cry of Silk (CD), Tin Sheds Gallery, University of Sydney.

2005: Tasmanian Wilderness Soundscape (DVD), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Bamboo Voice (DVD), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Breath Sculpt (CD), Salle Edmond Michelet, Cité Internationale des Arts, Paris.

2005: Paris Metro (DVD), Salle Edmond Michelet, Cité Internationale des Arts, Paris. 

2011: Beilharz, K. and Martin, A. Windtraces site-specific sound installation, Bondi Sculpture by the Sea, Tamarama Beach cliffs, Oct.-Nov.

2010: Beilharz, K., Haeusler, M., Barker, Ferguson, S. Polymedia Pixel in Oliver Schuerer, Gernot Tscherteu, Martin Tomitsch (Curators) Media Architecture Biennale 2010, Künstlerhaus Wien, Austria 7-30 October, catalogue published by Media Architecture Institute.

2007: Sonic Tai Chi in 'Boom' at Media Infinity: Taiwan-Australia New Media Arts Forum, Taiwan Kuandu Museum of Fine Arts, (Jakovich, J. and Beilharz, K.)

2006: Fluid Velocity in 'veloCITY' exhibition, Tin Sheds Gallery, Sydney, Oct.12 - Nov.4 using IRCAM WiSeBox wireless sensors, bike, Max/MSP + Jitter, real time generative sound and on-screen virtual life.

2006: Fabrication (II): The Cry of Silk (CD), Tin Sheds Gallery, University of Sydney.

2005-2006: Sonic Tai Chi (Jakovich & Beilharz) in BetaSpace at Sydney Powerhouse Museum interactive installation using Max/MSP + Jitter sonification with computer vision, November 24 – January 5.

2005: Sonic Tai Chi: Interludes (Jakovich & Beilharz) interactive performance using Max/MSP + Jitter with computer vision, Cité Internationale des Arts, Paris.

2005: Sonic Kung Fu Sydney Esquisse Exhibition interactive multimedia using Max/MSP + Jitter with computer vision

2002: Collaborations Multimedia Gallery Installation (floor pressure sensors, live video, web-cam, Internet, Max/MSP - original images and music) collaborative live interactive public work, developed with Mark Fell - Creativity and Cognition 4 Conference, University of Loughborough Gallery, U.K.

2001: Floriferous Multimedia digital media gallery installation (original music, video and graphic design by Kirsty Beilharz), duration: 14 minutes, first installed Tin Sheds Gallery 'CrossTalk' Exhibition, University of Sydney Faculty of Architecture (with Densil Cabrera, Nigel Helyer, Mark Jones, Konrad Skirlis, Michaela James) October 19 - November 10.

2001: Floriferous Multimedia for Concert performance (original music, video and graphic design by Kirsty Beilharz), duration: 14 minutes, C21 Contemporary Music Festival - Multimedia & Technology Concert, University of Sydney Department of Music. 

Jean-Luc Marion & Kirsty Beilharz

Recognition

2018: Senior Creative Fellowship Anglican Deaconess Ministries (to compose music for the end of life) Sydney.

2014: Australian Deaconess Ministries, Anna Pallister Scholarship for Doctoral studies.

2012: 'Diffuse' Concert Series (of 2011) Finalist in Australian Rights Association & Australian Music Centre (APRA/AMC) Awards Education category.

2008: Burning in the Heart of the Void selected for inclusion on Nouvel Ensemble Moderne, Quebec Canada's 20th Anniversary CD.

2007: AsiaLink (Melbourne University) Artist Residency funded by the Australia Council for the Arts & NSW Ministry of the Arts for study in Japan (music composition and interactive media).

2007: Matsumae International Foundation Research Fellowship at Tokyo University Artificial Intelligence Lab with Professor Hori (creative and design applications of Artificial Intelligence and A-Life models & interactive sonification).

2007: Kokusai Shakuhachi Kenshukan Residency, Chichibu Japan.

2007: Selection for Residency at Youkobo Tokyo Art Space, Japan.

2005: Best Paper Award in World Multi-Conference on Systemics, Cybernetics and Informatics, Orlando, USA, (Image, Acoustic, Speech and Signal Processing).

2005: Fluid Sinews in the World Bass Clarinet Convention in Rotterdam, top 4 selected world-wide, Honorable Mention.


2005: Angoulême Colloque International du Basson (France) for Tide-etched Sand Spirals, top 6 selected world-wide.


2000: Jean Bogan Prize for Piano Composition for Floriferous Rage 1st place National competition, Newcastle Conservatorium of Music, Australia.

2005: Residency - Cité Internationale des Arts, Paris.

2004: The 10th International Multimedia Modeling Conference Award for Best Presentation.

2003: University of Sydney Faculty of Architecture - Special Faculty Award for Excellence in Teaching.

2005: Selected by IRCAM (Paris) Pedagogy Committee for sound and music computing course, 10 people selected world-wide.

2003: Symphony Australia won the Award for Best Performance of Australian Contemporary Music in APRA / AMC Australian Classical Music Awards for performance of Vortex by Kirsty Beilharz in the ABC Adult Themes Series conducted by Richard Gill OAM.

1999: International Composition Competition 2nd prize (DM 8,000) & The White Face of the Geisha (Das weiße Gesicht der Geisha) Music Theatre Chamber Concerto for shakuhachi and ensemble selected for performance in the Biennale Neue Musik Hannover 1999 by Ensemble Recherche Freiburg. 


1999: ABC Australian under-30 National representative for 1999 Paris Rostrum.

1998: Lauréate of the Jury and Prix du Public (public vote and jury 1st prize, International Composition Competition) - Nouvel Ensemble Moderne Forum '98, Montréal for Burning in the Heart of the Void. 


1998: Sir Charles Mackerras / Australia-Britain Society Music Scholarship for 8 months study in the U.K. and Europe.

1998: Finalist in Western Australian Symphony Orchestra Twentieth Century Ensemble ABC Young Composers' Competition.

1997: Selected for the (AMC) Australian Composers' Orchestral Forum with the Tasmanian Symphony Orchestra, conducted by David Porcelijn.

1996-1997: Winston Churchill Memorial Fellowship for 3 months study of contemporary composition in The Netherlands, Germany, Austria & U.K.

1996: Sydney Moss Scholarship (University of Sydney grant for continental music study).

1996: Albert Traveling Scholarship in Music (University of Sydney academic study outside Australia).

1996: Winner of the Australian Young Composers' Competition, Fellowship of Australian Composers & Between Five Bells performed representing Australia at the 1997 Asian Contemporary Music Festival in Manila, The Philippines. 


1996: Alfred S. White Bequest for attendance at the International Gaudeamus Week in Amsterdam.

1996: Australian winner of the International Gaudeamus Competition for Young Composers under 35, represented at the International Gaudeamus Week Amsterdam, recorded by the Dutch National Radio, Ensemble of the Sweelinck Conservatory, conducted by Harry Sparnaay.

1996: Medibank Private NSW Arts Award Category of the Young Australian of the Year Award.

1995: Youth Music Australia Opportunity Grant, to attend International Gaudeamus Week.

1992-1995: Australian Postgraduate Research Award.

1993: Australia Council Individual Development Grant, to attend the 1993 Asian Contemporary Music Festival in Seoul, Korea as the Australian Young Composer, for performance of Kunmunya String Quartet.

1991: Donald Peart Prize for Scholarly Excellence in Two Disciplines - Performance and Composition.

1991: Ignaz Friedman Memorial Prize for Machu Picchu.

1990: Sarah Teresa Makinson Prize for Composition, for Transient Rays.

1989: First Prize in the 2MBSFM Young Composers' Competition for Blueshift for String Orchestra.

1988: Frank Hutchinson Memorial Prize for Senior School Composition. 

2018: Music and Sound design for Joining the Dots Theatre Company's production of W;t by Margaret Edson

2004-5: Sydney Symphony Orchestra - Symphony Australia commission, conductor Richard Gill.

2002: Commissioned by Symphony Australia to write orchestral work, Vortex for the Sydney Symphony Sinfonia, conducted by Richard Gill.

1992: Commissioned by Roger Dean of AustraLYSIS to write Earth Essence.

1991: Commissioned by the ABC to write orchestral fanfare, Plutonium, performed by the Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Western Australian Symphony Orchestra & Tasmanian Symphony Orchestra.  

2016-2018: The HammondCare Foundation: Psychosocial, spiritual and physical impacts of personalized music in palliative care ($280,000)

2015-2017: Australian Commonwealth Government Department of Social Services, Co-investigator on project: ‘Arts on Prescription’ led by Prof. Chris Poulos ($876,238)

2014: The Thomas Foundation: Impacts of interventional personalized music in dementia ($540,000, 2014-16)

2013: UTS Faculty of Arts & Social Sciences Research Development Grant with Anne Cranny-Francis, Devleena Ghosh, Meredith Jones in Culture & Technology, especially movement and gesture, and democrastisation of knowledges.

2009: UTS Faculty of Arts and Social Sciences Research Development Grant. Mechanisms to Enable Musical Uses of Complex Sound Sources - Professor Kirsty Beilharz (mentor) with Dr Samuel Ferguson (mentoree Early Career Researcher).

2007-2010: Australian Research Council (ARC) Discovery Project (Chief Investigator: Kirsty Beilharz) 'Gestural Interaction with Aesthetic Sonification' $255,000.

2006: University of Sydney Bridging Grant - A Model of Gestural Interaction for Sonification $36,400.

2004: University of Sydney Sesqui New Staff Support Scheme - Sound Design for Way-Finding and Spatial Orientation in 3-Dimensional Digital Environments $13,000.

2003-5: Cooperative Research Centre (CRC) for Construction Innovation - Team Collaboration in High Bandwidth Virtual Environments $800,000; Participants: University of Sydney, Woods Bagot, CSIRO, Arup Australasia, University of Western Sydney (University of Sydney researchers: Professor Mary Lou Maher, Professor John Gero, Dr Mike Rosenman, Dr Kirsty Beilharz); Research: Application of recent developments in networked 3D virtual worlds and high bandwidth communications technology to dramatically improve collaboration in the construction industry. 

2010: UTS Faculty of Design, Architecture and Building CapEx Research and Teaching Infrastructure Grant 'Polymedia Pixel' - mutlimodal visualization and sonification autonomous structural, sensing and displayunits - Prof. Kirsty Beilharz, Dr. Hank Haeusler, Prof. Tom Barker $125,000.

2009: UTS RIBG Research Grant for Sense-aware: Situated Eco-aware and Wearable Health-Info Display Faculty of Design, Architecture and Building $90,294.

2009: UTS Learning and Teaching Performance Fund Grant. Smart Mobile Innovation Community of Practice and Learning collaboration with Professor Mary-Anne Williams (Innovation and Enterprise Research Laboratory) University of Technology, Sydney; Faculty of I.T., Faculty of Business, Apple and IBM $10,000.

2007: Teaching Infrastructure Grant (with Densil Cabrera and Simon Hayman) for Sonification of Sound teaching integration, web-based learning and research exploration resources $5,000.

2003: Teaching and Learning Grant for Development of Innovative Online Learning $15,000.

2003-2004: Teaching Infrastructure Fund Grant for development of the Student Intranet (with Prof. Peter Phibbs) $10,000. 

Mobirise

LISTEN TO MUSIC

Song of Sorrows - solo flute & piano (computer simulation)

Burning in the Heart of the Void - Nouvel Ensemble Moderne Montreal

Prism for bass clarinet and electronics - Ros Dunlop (excerpt) 

Aurorean Ritual - Sydney Symphony Orchestra conducted by Richard Gill 

Bamboo Voice - electronic & acoustic 

Diamond Quills - Charisma Ensemble 

Breathsculpt - processed shakuhachi 

Windtraces - Responsive outdoor sound installation - Bondi Scultpure by the Sea at Tamarama Beach 

Tasmanian Wilderness - electronic 

Prism for bass clarinet and electronics - Ros Dunlop 

Silkcry electronic installation 

Climate Crisis data sonification with shakuhachi 

Fluid Velocity - art installation interacive sonification 


  • TEACHING AREAS (current) Formation - integrative studies & theology, ethics; (previous) Situated Media Installation Studio, Contemporary Music 1 & 2, Electronic Music Composition, Sound Design and Sonification, Advanced Interactive Multimedia Design, Interactive Sound Design Studio, Visual Perception and Digital Imaging, Digital Media Design Studio, Web Design and Programming, Interactive Multimedia Design, Advanced Interaction Design, Digital Media Production, Ph.D Supervision.
  • ADVOCACY & PUBLIC ENGAGEMENT - I am a public advocate for dignity, respect, whole-person care and de-stigmatising dementia, conversations about death, palliative care and mental health. Quality of life as a universal human right, equality of human beings irrespective of circumstances predicated on virtue ethics, availability of best practice care, medical and spiritual ethics, sensitivity to cultural, indigenous and religious variances, civil liberty, and the non-discrimination of mental illness, cancer, and diseases of ageing are at the heart of my advocacy and speaking into public awareness, especially to challenge contemporary culture’s focus on hyper-cognition and material productivity as measures of human value.
  • KEYNOTE/PUBLIC SPEAKER – Music engagement in dementia care and palliative care. ACOM, SCD and CSU Ageing Conference: Embracing life and gathering wisdom: Theological, pastoral and clinical insights into human flourishing at the end of life. 27 - 28 September, Sydney Australia (2018); Plenary Speaker: Grand Designs International Dementia Conference, Sydney Hilton (2016); 'Human Flourishing until death: Living well until the very end’ at Australasian Centre for Wesleyan Research Conference, September, Sydney Australia (2018); ‘Mental Health’, Church by the Bridge Refuel Women’s Community Presentation, 4 September 2018 (invited by Sarah Condie, Co-Director of the ADM Pastoral Care and Mental Health Institute); Music, ageing and dementia, St. James’ Anglican Church, Croyden, 10 April (2018); Mental Heath Professionals Network (2018); Northern Beaches Palliative Care Community Services Forum & Primary Health Network, St. Leonards, 2 May (2018); TAFE Gore Hill, 21 May (2018); Home Instead Senior Care Lower North Shore, 28 June (2018); ABC Radio National’s program, God Forbid on music, spirituality, palliative care and end of life (2017); ABC Radio Sydney, Tasmania, Adelaide and Canberra, on Music Remembers Me and dementia (2017); National Palliative Care Conference Adelaide (2017); Interview with the Centre for Public Christianity (2017); Interview with Eternity Magazine (2017); University of Edinburgh, UK – School of Health in Social Science (2016); Songwriter Speaks, Australasian Performing Rights Association & the Australian Music Centre; Interaction design - Graphite (Sydney Chapter of SIGGRAPH); The Royal Australian Institute of Architects (RAIA); Tokyo University, Artificial Intelligence Lab; University of Sydney Faculty of Architecture Public Lecture Series; University of Sydney, Technology’s Public Lecture series.
  • LEADERSHIP - 2014-18 HammondCare. Individualised music services to more than 1,000 residents in 14 HammondCare nursing homes in NSW and VIC; 3,000 clients in community care; and more than 1,000 clients of the Dementia Centre and Severe Behaviour Response Team (responding to severe crises in behavioural and psychological symptoms of dementia); and patients in Greenwich Hospital Palliative Care Services. Specialist staff direct reports and care staff education; 2013: Music Performance & Installation Chair: Creativity & Cognition International Conference June at UTS; 2010: Conference Chair: New Interfaces for Music Expression international conference June at UTS; 2008-2013: Degree Head, Bachelor of Sound and Music Design in FASS UTS; 2008: Acting Associate Dean Research (Faculty of Architecture, Design and Planning) University of Sydney (Postgraduate admissions, University Graduate Committee, overseeing higher degree supervisors, candidates, degree publicity, examination process, scholarships, International partnerships; Academic staff research evaluation); 2008: Acting Head of Design Computing Discipline (Faculty of Architecture, Design and Planning) University of Sydney (curriculum design Bachelor of Design Computing, postgraduate student and academic staff research); 2001-2008: Director of Graduate Digital Media Program (large coursework program with Graduate Certificate, Diploma and Master's Degree awards); 2008-2011: Dean’s Advisory Committee (DAC) in DAB UTS; 2006: Vice-Chancellor's Senior Management Forum, University of Sydney; 2004-5: Associate Director (Academic) ICT in Teaching & Learning (College of Science & Technology).
  • SERVICE - 2015-[...] Research Committee of SCD; 2008: Adjudicator, Research Expo (Faculty of Architecture, Design and Planning) University of Sydney; 2001-2008: Sony Foundation Scholarship adjudication committee; 2001-2008: Faculty Board of Graduate Studies, University of Sydney; 2008: Adjudicator Faculty Noel Chettle Art Prize, University of Sydney; 2007: Design Computing Discipline member of Research & Research Training Committee, University of Sydney; 2006: Curator Velocity Graduate Public Exhibition (curation, catalogue design and preparation) of Faculty Staff and Student work across 12 Graduate streams (Digital Media, Architecture, Urban Design, Art Workshops, Sustainability, Design Computing, etc.); Member of the Australia Music Centre
  • EMPLOYMENT - 2019 -[...] Professor, Integrative Studies Program Director, Excelsia College; 2019: Research Associate, The University of Notre Dame (Sydney) - Institute for Ethics & Society in collaboration with St. Vincent's Health Network; 2018-19: Senior Creative Fellow - Anglican Deaconess Ministries; 2017-2019: Adjunct academic, Faculty of Medicine, School of Public Health and Community Medicine, University of New South Wales; 2016-2019: Research Professional, Kolling Institute of Research, University of Sydney; 2016-2018: Director of Music Engagement, HammondCare, Learning and Research Centre (Palliative Care & Arts in Health); 2014-2016: Director of Music Engagement, HammondCare - Dementia Centre; 2008-2014: Professor - Sound, Music and Interaction Design (Faculty of Arts & Social Sciences and Faculty of Design, Architecture & Building) University of Technology, Sydney (UTS); 2004-2008: Senior Lecturer; Program Director - Graduate Digital Media (Design Lab, formerly Key Centre of Design Computing & Cognition: Faculty of Architecture, Design Science and Planning) University of Sydney; 2001-2004: Lecturer (Assistant Professor); Program Coordinator Graduate Digital Media (Key Centre of Design Computing & Cognition: School of Architecture, Design Science and Planning) University of Sydney; 1998-2000: Lecturer (Music Department, Faculty of Arts) University of Sydney; 1999-2000: Lecturer - I.T. Multimedia & Web Design, Crows Nest TAFE; 2000: Lecturer - Sydney Conservatorium of Music
  • REVIEWER/JUROR - 2010-[...]: Australian Research Council (ARC); 2011: UTS Vice-Chancellor's Research Awards; 2010: UTS Research and innovation Office Partnerships; 2010: Australian Research Council Future Fellowship Humanities Advisory Panel; 2006 & 2007: Australian Research Council Discovery Projects.
  • EDUCATION - 2014-2020: Doctor of Philosophy (Trinitarian Metaphysics, Epistemology, Phenomenology, Philosophical Theology), Sydney College of Divinity; 2016: Harp for Healing - Clinical Musician Certification Program (CMCP) – accredited by the USA National Standards Board for Therapeutic Musicians; 2014: Certificate in Theology (Moore Theological College); 1997-8: Post-Doctoral Research, University of York, U.K. (British Council Award); 1996-7: Post-Doctoral Research, University of York, U.K. (Churchill Fellowship); 1996: Doctor of Philosophy (Music), University of Sydney; 1993: Bachelor of Music (Honours 1st Class), University of Sydney; 1997: Certificate IV - I.T. (Multimedia); 1989: Licentiate Diploma, Trinity College London (Performance); 1988: Associate Diploma, Trinity College London (Performance); 1987: A.Mus.A (AMEB) (Performance).

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