I graduated from the University of Melbourne, where I studied with Leslie Barklamb and Thomas Pinschof, and from the Conservatoire Hector Berlioz, in Paris (class of Raymond Guiot, Opèra de Paris), gaining a 2eme Prix. I also undertook orchestral repertoire study with Joane Bennett (Chicago Symphony Orchestra) and participated in master-classes with Jean-Pierre Rampal, Christian Lardé and Peter Lukas-Graf. Prior to my PhD, I undertook self-directed study in performance and teaching skills, culminating in the award of Fellowship of Trinity College, London. I have been awarded several prizes and scholarships over my career.

Since completing my doctoral studies, my career as a researcher at the University of Newcastle has been complemented by my music interests. Teaching, chamber music, and orchestral performance have provided me with unique avenues for growth and expression.

My Research

I completed my doctoral thesis in 2010 in the field of music education psychology. My research focused specifically on learners’ approaches to learning and motivation in instrumental music education. In my thesis titled The subjectivity of musical learning: Understanding participation in instrumental music learning, I developed an explanatory model to show how children’s participation in music can be enhanced or hindered by the quality of their learning and the nature of their sociocultural environment. In this model, I identified the concept of affinity, representing the subjective meaning of music to the individual, as the connection between individuals and music that influenced their continued engagement with music as ‘music lovers’ or as ‘musicians’.

My research contributes to the field by identifying underlying factors associated with retention and attrition in formal music learning settings: factors that are located within the individual such as their affinity with and identity in music, as well as those in the broader social context. The concepts and processes I identified have direct implications for research-based teaching practice. The engagement model shows that affinity for music can be promoted when teachers provide person-centred, culturally relevant repertoire and a carefully planned pedagogy.

The thesis was judged “outstanding”, “impeccable”, and a “major contribution to knowledge”; I was awarded the Newcastle Institute for Educational Research Thesis Prize and the Callaway Doctoral Award by the Australian Society of Music Education.

My Teaching
I began teaching flute during my undergraduate studies at the University of Melbourne, and over time established a teaching practice across all levels of education. Core elements of my approach include sound production, reading and technical fluency, performance style, performance preparation and management of musical performance anxiety, and ensemble and orchestral techniques. Working with a diverse range of learners, from novices to pre-professionals, I focused on developing their musicianship and performance skills while nurturing their emotional connection to music.
Some of the institutions where I have taught include:
Universities of Southern Queensland, Wollongong, Newcastle & Sydney
Sydney Grammar School
SCEGGS, Darlinghurst
Yarra Valley Grammar School
Kilvington Grammar School