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I studied composition with David Maki (2002-'06), Stephen Davismoon (2007-'10) and Katrina Burton (2007-'13). As a composer I am interested in open works which make use of indeterminacy and discontinuity, and anarchic (non-hierarchical) social structures. I often compose mobile moment form works informed by harmonic spectra, involving self-directed ensembles. Most of my works are intended to be approachable by and interesting to both virtuosi and non-virtuosi, especially student and amateur ensembles.



Current Projects

  • Ongoing collaboration with Ngaio Fitzpatrick (ANU Climate Change Institute)

  • Ongoing collaboration with artist Martyn Jolly (Former Head of Photography, ANU School of Art) using historic 'magic lanterns' and electroacoustic music



Scores are available on request, with previews available on ISSUU.

Complete Works List

Works by Ensemble


  • words stolen from potential friends (2016) for solo voice

  • For Mabel (2008) for solo piano



  • Bawley Point #2 (2016) for video and two double basses

  • Two Vibraphones and Kick Drums (2015)

  • Emmy Noether (2013) for electric guitar and piano

  • For Eric and Sue Ellen (2008) for violoncello and piano

  • Ràithean (2005) for double bass and percussion

  • Seal Brother (2005) for baroque flute and bass viola da gamba

  • 1995 (2004) for double bass and vibraphone



  • Lise Meitner (2014) for soprano, electric guitar and sustaining keyboard instrument

  • Bass clarinet, Violoncello and Percussion (2008)

  • Flute, Guitar and Violoncello (2008)

  • Chamber Piece (2006) for three trumpets and tape

  • Sketches of Cape Cod (2004) for viola, violoncello and double bass



  • Sofia Kovalevskaya (2014) for treble reed instrument, violoncello and two pianos

  • Trombone Quartet (2014)

  • For Four String Players (2007) for two violins, viola and violoncello

  • A Day in the Life of a Bear (2005) for oboe, trumpet, horn and percussion

  • Piece for String Quartet and Four Projectors (2005) with four films by Kiril Kirchev


  • Brass Quintet (2010-'11) - can be performed with as few as three players under the title For a Number of Brass Players

  • For Two Vibraphones, Accordion, Violoncello and Double bass (2009) - arrangements exist for various combinations of similar instruments (vibraphone parts are playable by a single percussionist, making the piece a quartet)

  • For Four String Players and Treble Instrument (2009)


large/variable ensemble

  • Figheadaireachd (2019) for string or symphony orchestra

  • New South Wales Gothic (2017) for 6 players, projected video and magic lantern

  • Bawley Point #1 (2016) for video and one or more ensembles of six musicians

  • apocalyptic and integrated (2016) for small ensemble and projected video

  • Grasping things at the root (2016) for large ensemble and projected video

  • Some Words and Music (2014) for any number of musicians and reciters

  • Piece for instruments, live and pre-recorded electronics and projected videos (2014)

  • Saxophone Octet (2014) for SSAATTBB - can be performed with as few as three saxophonists under the title For a Number of Saxophones

  • For Twelve String Players (2011) for a self-directed ensemble of - can be performed with as few as three players under the title For a Number of String Players

  • Vocal Octet (2011) for SSAATTBB with optional reciter(s) - can be performed with as few as three vocalists under the title For a Number of Vocalists - microtonal version available with sine wave headphone mixes

  • For a Number of Musicians (2010) for one or more ensembles of up to 21 musicians

  • Percussion Ensemble (2010) for eight percussionists - can be performed with as few as one player, with appropriate changes made to the working title

  • Self-winding Machine (2006) for toy ensemble with a film by Jeff Oman

  • Confusion (2006) for thirteen clarinets and three dancers


electronic works, soundtracks, performance art and installations

  • I Would Not, If I could, Forget (2022) for live and prerecorded electronics and fretless electric bass, 2 magic lanterns and narrator

  • deò (2020) for low whistle and wind turbine field recordings - featured as part of Ngaio Fitzpatrick's installation Dissonance, commissioned by the Canberra Museum and Gallery

  • Grus Jerrabomberra (2019) three-channel audio installation (cement blocks, old iPhones and bluetooth speakers, BARK Exhibition, Hall; Gaia Hypothesis, Belconnen Arts Centre

  • Gungahlin to Mount Ainslie (2018) stereo playback

  • The Modern Prometheus (2018) for live and prerecorded electronics, 2 magic lanterns and narrator

  • RED (2018) music for Liz Lea's one-woman dance show

  • Age Old Story (2017) for gramophone performer, poet and four performers and channels

  • A Lightness of Being (2017) soundtrack for a short film by Ngaio Fitzpatrick (ANU Climate Change Institute

  • FUSE (2017) collaborative work with dancer/choreographer, Jack Riley, as part of a Ralph Indie Residency at Gorman House Arts Centre, Canberra

  • The Sixth Mass Extinction (2017) for 6-channel tape and six suspended sheets of glass, collaboration with Ngaio Fitzpatrick (ANU Climate Change Institute)

  • OUR EARS FELT LIKE CANYONS (2016) for 4-channel tape

  • Alphabet/Haemorrhage Libretto (1992/2016) for pre-recorded voice (with live performer) and 4-channel tape, text by Mike Parr

  • Double Drowning Fatality (2016) for magic lanterns (19th century animated slide projectors), reciters and ensemble (double bass, two electric guitars, two percussionists)

  • Avoidance Behaviour (2015) for tape, viola da gamba and live electronics (with video projection by Elyse Howe)

  • Kettle and Cathedral (2014) for one kettle and any number of microphones and speakers.

  • Three Looped Electric Bass Pieces for a Video Installation (2012) for a set of videos called Every Object... by Lauren Davis

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