Team

As a recorder virtuoso, Genevieve makes regular appearances as a soloist with Australian and international orchestras including the Australian Chamber Orchestra, City of London Sinfonia, Tapiola Sinfonietta, Concerto Copenhagen, and the Melbourne, Tasmanian and Adelaide Symphony Orchestras. She has performed at the Lindau International Convention of Nobel Laureates, for Queen Elizabeth II in Westminster Abbey, as a concerto soloist in the Royal Albert Hall for the BBC Proms, at the opening night of the London Jazz Festival and on a basketball court on Thursday Island with Australian indigenous ensemble The Black Arm Band.

An advocate for her instrument as well as for contemporary composition, Genevieve has commissioned and premiered works by composers as wide-ranging as Australians Lou Bennett, Brett Dean, Elena Kats-Chernin, Andrea Keller, Hollis Taylor, Paul Grabowsky, Liza Lim and Ben Frost, as well as Erkki-Sven Tüür (Estonia), John Surman (UK), Max de Wardener (UK), Jan Bang (Norway), Christian Fennesz (Germany) and Wang Peng (China).

Specialising in the development of musical artists at all stages of their careers, she works directly with several composer-performers and has conceived and produced a suite of acclaimed programs that have nurtured, informed, and networked musicians in the UK, France, Germany, Norway, Poland, South Africa, Switzerland, The Netherlands and Australia.
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Martel has worked for many organisations in Australia and the UK including Serious, producers of the London Jazz Festival. She is active in the international art music community, and is a board member of the Australian Music Centre, Making Tracks and hcmf (Huddersfield Contemporary Music Festival), and an advisor for Jerwood Arts (UK), and the Sir Zelman Cowen School of Music and Performance Arts at Monash University (Aus). Between 2017 and 2022 she was vice president of the Europe Jazz Network (EU funded, 190+ members).

Since 2019 he has worked independently advising artists, organisations, government and industry clients on strategy, policy, financing, project design and business planning. He is the  manager of composer, performer and cultural leader David Bridie.

Paul is a director of the City Recital Hall Sydney and the Peggy Glanville Hicks Composers House Trust; and a member of the advisory board of the Electronic Music Conference.  Previously, he was a board member of Sydney’s Radio FBi 94.5 from its establishment to the year 2000 when the station was awarded its permanent broadcast licence. Between 2004 - 2007 he was President of Music NSW the state based contemporary music service organisation.

Prior to this appointment, Alison was the SA Manager for Philanthropy Australia and from 2007 – 2011 she was the executive officer of the Australian String Quartet (ASQ). She has developed and implemented many successful music programs both with ASQ and as Concert Manager at the Elder Conservatorium of Music.

An undergraduate from the University of Adelaide, Alison has since pursued further study at the University’s Graduate School of Management. She was selected to participate in the Australia Council’s inaugural Emerging Leaders Program and is a graduate of the Australian Institute of Company Directors. Alison was a member of the board of The Australian National Academy of Music (ANAM) 2014-2021, and in 2019 was appointed to the board of the Adelaide Festival.

Deborah studied Fine Art, in South Africa and at St Martin’s School of Art, London, and worked in the theatre, a museum, a university art school, the United Nations film department, an animation studio, a film production company, the BBC, and is currently a freelance producer, director and editor based in Sydney.

For the stage, Gus has worked with choreographers such as Gideon Obarzanek and Lucy Guerin and he has also worked with artists such as musician and sound artist Genevieve Lacey, author and academic Drew Pettifer, conceptual artists James Darling and Lesley Forwood - shooting films for exhibitions in galleries, as well as for a range of promotional and documentation purposes.

He is a graduate of the Adelaide Elder Conservatorium in composition, and runs Synthetica Engineering, a business specialising in high-end live sound design for international touring artists as well as computational sound design for film.

His work encompasses a wide variety of projects, ranging from engineering and mixing ARIA-award nominated studio album recordings, audio synthesis programming for motion picture, and live sound design and operation for artists including James Morrison, Kate Miller-Heidke, Slava and Leonard Grigoryan, Katie Noonan, Lior, Genevieve Lacey, Paul Kelly, Joseph Tawadros, Paul Grabowsky, Amy Dickson, Adam Page, and the Australian String Quartet.

With a background in live radio production owing to several years working at ABC Classic as producer and post-production mixer, he is frequently involved in major festivals as a front-of-house operator and recording engineer, and as a consultant on electroacoustics as well as audio system design and integration.

After five years in lutruwita/Tasmania as Dark Mofo’s executive producer, Jude recently returned to Adelaide to support creative pathways for independent artists, producers and presenters. She has previously held executive and creative-producing roles with the Commonwealth Games, AsiaTOPA, Adelaide Festival, The Black Arm Band, Arts House, Melbourne Festival and Melbourne Fringe. Jude has served on the boards of Vitalstatistix and The Substation and completed an Asialink Arts Management Residency in Cambodia.

She has also produced online and social media content and strategies for The X Factor Australia, the Australian Chamber Orchestra and Finding Our Voice.

As a writer, Rosie has contributed to Grazia, Cosmopolitan, Reader’s Digest, Music Feeds, BBC Music Magazine, Homes & Antiques, and other arts, lifestyle and news publications.

She is the creator, host and producer of OUTcast Podcast, a podcast sharing coming out stories and interviews with the most fascinating, diverse and inspiring LGBTQ+ people from all over the world.

Rosie has also written scripts for Fearne Cotton’s Happy Place App and Classic FM’s Classical Dreams podcast.

As an arts administrator, he has worked for GWB Entertainment, Australia Council for the Arts, City of Melbourne, APAM, Michael Cassel Group, Ambassador Theatre Group, Opera Australia, and the ABC. Fraser has previously served as a Curator for TEDxSydney and is currently a non-executive director of Victoria’s Midsumma Festival.

Currently working as an arts consultant specialising in diversity, access and inclusion, Morwenna is a member of access advisory committees with Sydney Festival (Chair), Perth Festival and Sydney Fringe, and a board director of Arts Capital (a venue management and events organisation in ACT). She has previously been the CEO of Accessible Arts, the chair of the Sydney Arts Managers Advisory Group and has held various senior management roles at the Australia Council for the Arts.

In 2020, she completed a Churchill Fellowship, exploring inclusive music programs, venues and festivals which actively engage disabled people across the USA, UK and Ireland. Her work is influenced by her own lived experience as a musician with disability. More information at www.morwennacollett.com.

Her research  investigates the pedagogies of creativity, collaboration and expertise across the lifespan and innovative participatory research methods. Her research has been funded by the Australian Research Council, Australia Council for the Arts, Australian Youth Orchestra, British Academy, Musica Viva, and Australian Children’s Music Foundation. Publications include the Oxford Handbook of Early Learning and Development in Music (2023 with Graham Welch) and two volumes of narrative inquiry (2009, 2012 with Sandra Stauffer).

She has served as president, International Society for Music Education (2012-2014), chair, World Alliance for Arts Education (2013-2015), chair, Asia-Pacific Symposium for Music Education Research (2009-2011), and editor, Research Studies in Music Education (2004-2012). She was awarded Fellowship of the Australian Society for Music Education (2011) and Honorary Life Membership of the International Society for Music Education (2022). Fellowships include: Senior Fulbright Fellowship at the Library of Congress and Smithsonian (2018), Beaufort Visiting Research Fellow at St John’s College University of Cambridge (2019), and Albi Rosenthal Fellowship in Music at the Bodleian Library (2023).

While she’s not making music, Jessica spends her time at the netball court umpiring, and earned her National B accreditation in 2022. She works on improving her skills through weekly games, State Titles, and development camps. 

As a musician in a constantly advancing world, Lillian recognises the value of using technology to engage in diverse ways of musicking. Finding Our Voice has been a wonderful online project to put together — the plethora of creative activities and resources will encourage many students to embark on exciting musical adventures with each featured composer’s work. 

Her ‘musical illustrations’ published under the pseudonym @thedoodlingcellist have been featured by music pedagogues across the globe and she has also worked as a breakfast radio presenter with 2MBS Fine Music Sydney.