Finalist in the 2018 Art Music Awards

As announced today, Tura New Music is a finalist in the national 2018 Art Music Awards for the Award for Excellence by an Organisation for sustained contribution to Australian art music for over 30 years. 

The Art Music Awards, presented by Australian Music Centre and APRA AMCOS, consists of eleven national awards as well as individual state awards, celebrating the works and achievements of the art music community.

The Art Music Awards will be presented on Tuesday 21 August at Melbourne’s Plaza Ballroom, hosted by Jonathon Biggins with a performance program curated by Soundstream Director and pianist Gabriella Smart. 

Tura extends congratulations to all award finalists.

See the full list of finalists on the Australian Music Centre website.

The 2018 Summers Night Project Wrap-Up

The inaugural Summers Night Project came to a close with the final concert and panel discussion at Monash University last weekend as part of the Gender Diversity in Music Making Conference. The project was marked as a highly successful beginning to an initiative which, along with similar projects of its type around Australia, are giving a strong voice to emerging Australian women composers.  The composers worked alongside performance and composer mentors to develop their works during the workshop intensive in Perth and were able to continue to develop their works further as the tour progressed to Adelaide and Melbourne, making adjustments and changes until the final performance.

Tura New Music would like to thank co-presenters Monash University and Soundstream, and project partners APRA AMCOS, Australian Music Centre and Decibel New Music Ensemble. The combined efforts of all these groups were essential to the success of the project. The Adelaide concert was further supported by the Helpmann Academy and the University of Adelaide, Elder Conservatorium of Music. A special thanks to ABC Classic FM for their recording of the Perth Concert, as well as the Western Australian Academy of Performing Arts (WAAPA) at Edith Cowan University.

The project would not have been possible without composer mentors Professor Cat Hope, Rebecca Erin Smith and Becky Llewellyn, and performance mentors Stuart James, Derek Pascoe, Tristen Parr, Gabriella Smart, and Cat Hope.

The Summers Night Project | Image by Rachael Barrett – Photographer

We would also like to acknowledge the generous contributions of the Tura women’s giving circle and the Next30 Leadership Donors, as well as Tura’s and Soundstream’s government funding partners.

And finally, we would like to congratulate the hard work and incredible talent of The Summers Night Project composers, Rachel Bruerville, Carmen Chan Schoenborn and Olivia Davies, whose dedication and dexterity brought the project to life. These composers personify all the incredible contributions women bring to the arts, and wholly encompassed the overall aim of the project – to diversify Australian composition and continue to support female representation in the arts.

Composers Olivia Davies, Carmen Chan Schoenborn and Rachel Bruerville | Image by Rachael Barrett – Photographer

Chief Justice of WA Patron of Tura’s Regional Program

Tura New Music is honoured to announce the Hon. Wayne Martin AC, Chief Justice of Western Australia, has accepted the inaugural role of Patron of Tura’s Regional Program.

A unique not-for-profit arts organisation that has been the driving force behind Australian new music and sound art for the past 31 years, Tura ignites creative discovery and original thinking in developing, producing and presenting music. The award-winning Regional Program crosses cultural boundaries, magically weaving together traditional and contemporary Indigenous forms of music with western expressions of new music.

Tura Chair, Gavin Ryan, said, “We are privileged that Chief Justice Martin has accepted our invitation to be Patron. The knowledge and networks he will bring to the organisation are invaluable. His appointment will strengthen Tura’s ongoing efforts in creating opportunities that enable the pursuit of musical discovery.

Chief Justice Martin’s patronage is particularly relevant to the work of Tura in remote Indigenous Australia linking the highest calibre Australian artists in music and sound art with local, Indigenous musicians and other creatives.”

Chief Justice Martin commented on his appointment as Tura Patron: “An important way of tackling the complex issues facing many Aboriginal people is through a deeper cross-cultural engagement. I believe that the arts – music in particular – can play an important role in this.”

Chief Justice Martin, who will be retiring from his role as Chief Justice in July, has been an inspiration to West Australians in social justice leadership and will continue to inspire Tura in its work within remote Indigenous communities.

During his time as Chief Justice, His Honour has been an active Patron or board member of about 20 not-for-profit organisations and he is looking forward to continuing his involvement with selected organisations into the future.

More information about Tura and its Regional Program can be found at

Media contact: Tracy Routledge TR PR

Warmun Residency Blogs Online

Composer/performers Hollis Taylor and Jon Rose are Tura’s Musicians in Residence at Warmun, East Kimberley as part of Tura’s ongoing Regional and Remote residency Program. Using 20 violins brought in for the project, community members and students of Ngalangangpum School will work with Hollis and Jon to create new soundworlds and storylines.

Hollis has been keeping a blog on all of the activity in the school and the community:

Blog post 1

Blog post 2

Blog post 3

The 2018 Regional Residency Program is supported by Healthway promoting the Act-Belong-Commit message, The Ian Potter Foundation and the Rowley Foundation.

Interview: Adelaide Pianist Gabriella Smart

Adelaide pianist and new music advocate Gabriella Smart performs works from her commissioned series Of Broken Tree and Elephant Ivories in Perth, 29 June. Gabriella will present two works, including a large scale work by Erkki Veltheim, Two New Proposals for an Overland Telegraph Line from Port Darwin to Port Augusta, from the Perspective of Alice Springs. Written for Gabriella, the work is for detuned colonial piano and electronics. Accompanying this work will be Cat Hope’s experimental piece Kaps Freed for piano and electronics, inspired by Melbourne’s Albert Park Lake.

MLIVE spoke to Gabriella ahead of her concert at Monash University, watch the full interview to get an insight into what inspired her recital, and how she first became introduced to the history of the colonial piano in Australia.

Fitzroy Crossing Artist-in-Residence Blog Online

Gillian Howell, Tura’s Musician in Residence in Fitzroy Crossing, has been reflecting on her time in the community working with resource centres, women’s groups and the Fitzroy Valley Primary School. She’s written two blog posts which give a deeper insight into what she’s been up to, which includes catching up on what’s new and what’s changed, and firing up some new relationships and creative projects.

Read blog post 1

Read blog post 2 

Gillian’s Fitzroy Crossing Residency is part of a three year program supported by Healthway, promoting the Act-Belong-Commit message, and The Ian Potter Foundation.

The Narli Tour

The Narli Tour features Indigenous musical icon Mark Atkins with Judith Hamann (cello), Tos Mahoney (flute) and Joe Talia (percussion).

Travelling to regional centres and remote communities, Narli brings collaborations, story, new music and celebration across the Kimberley.

Community concerts, school workshops and presentations.

15 June – 30 June 2018

Beagle Bay, Djarindjin, Lombadina, One Arm Point, Kununurra, Warmun, Halls Creek, Fitzroy Crossing, Derby, Broome

More info soon

Painting the Wreck

 Across last week in a shed in part of Warmun know as the ‘overflow’ some of Warmun’s renowned artists have been painting up a car wreck. But this is not just any car wreck. This object was transformed during Tura’s residency program in Warmun, East Kimberley in August 2017 where composer/performer/sound artist Jon Rose with composer Catherine Ashley and a small army of local community welders, carpenters, towing agents and handy folk created a massive instrument/installation titled Carpintj – The Wreck. Like some ancient giant percussion and stringed animal it journeyed to the Junba (Dance and Song) Grounds adjacent to the Warmun Art Centre for a special performance by the artists, community members and then dozens of overjoyed school students. Boxes of drum sticks and many cello bows used to hit metal or bow the wires were consumed in this most enthralling performance. Gija elder Rusty Peters commented: “That was fantastic! Its brought the whole community together to experience something new thats been made right here.”

Tura Artistic Director Tos Mahoney, along with Warmun Art Centre Manager Stephanie Raj, had planned to involve Warmun painters in the process at the time but getting the Wreck built and ‘rehearsed’ was challenge enough and took all the time of the residency. So it was planned to do some time in the future and the Wreck left to mature. The community got concerned over the wet and they moved the Wreck to the ‘overflow’ shed, ironically the area of town built for the workers during the rebuild after the flood in 2011 and now sheltering the Wreck. Post flood 2011 was also the time of Tura’s first residency in Warmun with field recording specialist Philip Samartzis spending four weeks recording the Warmun world with elders and artists.

Now with the wet well receded in 2018 and all the forces aligned, including the presence of Broome filmmaker Mark Jones accompanying Tos Mahoney back to Warmun, the artists have started painting ‘that moda car’. For some time they had decided it would be done by a group of elder and young artists. Some telling wreck, some telling stories of country. And so it is. Painting and stories documented for the future, this object which nine months ago was abandoned and covered in the shrub has evolved first into a cross-cultural sonic explosion of deep importance to community and now to a carrier of country and story.

Warmun artists painting the Wreck include Gabriel Nodea, Shirley Purdie, Gordon Barney, Nancy Nodea and Lindsay Malay.

Tura and Warmun Art Centre are planning for Carpintj to travel on its own journey to Perth in 2019 with Jon Rose and some community members for a series of performances and presentation and then a future after that as an installation along with all the many stories that have been recorded along the way.

Stephanie Raj comments: “The Wreck project has been a wonderful opportunity for the community to experience a very different world of music and sound that they have been used to but at the same time one that resonated well with them. Now the painting of the Wreck gives our artists the chance to express their work in a different way and in collaboration with the sound experience.”

Jon Rose returns to Warmun this June assisting his partner Hollis Taylor who will bring 25 violins to Warmun School to created the Warmun Philharmonic Orchestra! Rose will no doubt will absorb the work of the Warmun painters and check on the working of the Wreck in preparation for its journey south.

“This is actually our second wreck project in the Kimberley with the first in Lombadina in 2016. In both communities what started as a trickle of interest turned into a torrent with many folk coming out of the wood work to tell us their wreck stories or, just as likely, tell us someone else’s wreck story. Some full of pathos, many full of humour. The process of retrieving something that has been abandoned and considered useless, then using it in this way, though treated seriously and with respect, brings its own humour, energy and connection. In the various stages of being found, retrieval, the build, performance, storage and now painting Carpintj has garnered a lot of attention and uncovered many stories. I have no doubt that in its future locally and as it travels, it will continue to do likewise.” Tos Mahoney oversaw the Lombadina and Warmun residency projects and has worked with Wreck provocateur Jon Rose over the last 35 years.

Tura’s annual Regional Program is supported by Healthway, promoting the Act-Belong-Commit message, the Ian Potter Foundation and the Rowley Foundation.

Tura’s annual program is supported by the State Government of Western Australia though the Department of Local Government, Sport and Cultural Industries and the Australia Council, the Australian Governments arts funding and advisory body.

10 May 2018

Meet The Summers Night Project Composers

Meet the three composers from Western Australia, South Australia and Victoria who have been selected as part of The Summers Night Project, with the aim to grow the gender diversity in music programs Australia-wide. Each composer has been allocated a lead mentor from their home state, Cat Hope (VIC), Rebecca Erin Smith (WA) and Becky Llewellyn (SA), as well as has access to performer mentors from Decibel New Music Ensemble and Soundstream.

Their new works will be performed in concerts in each state, alongside works from their mentors – register your free attendance for WA, SA and VIC.

Olivia Davies (WA)

Olivia Davies is a Perth-based composer whose works involve classical, experimental and electro-acoustic approaches to composition and are often texturally driven and ambient in nature. She has participated in Tura’s Totally Huge New Musical Festival (2015 & 2017) and more recently, was one of six emerging composers commissioned for the latest Hush Foundation album Hush 18 which will be premiered by the Australian Chamber Orchestra later this year.

Carmen Chan Schoenborn (VIC)

Image by Brian O’Dwyer

With a Master of Music in percussion performance, Carmen began creating graphic scores in Sweden as a response to her studies into graphic notation and interpretation, from which her project ‘Do You See What I Hear’ grew. She has been active in Melbourne’s experimental music scene since 2014.

Rachel Bruerville (SA)

Image by Amy Herrmann

Adelaide-based Rachel Bruerville is a composer, arranger, cellist, singer, and writer. Some recent, excellent musical moments include composing for The Hush Foundation’s current national project, Hush 18, and composing/ performing her original solo cello/vocal score in award-winning 2017 Adelaide Fringe theatre production Stories in the Dark, which will be further developed in 2018.


Louise Devenish On Her First National Tour

“[An] exciting cross-section of approaches to blending the acoustic and electronic, that shows how diverse percussion music can be”

A passionate advocate of new and Australian music, Louise Devenish has commissioned over 50 works for percussion and premiered countless others. 2018 heralds Louise’s first national tour of her new release music for percussion and electronics, presented by Tura. Performing in May in Perth, Adelaide, Brisbane and Melbourne, she will present a collection of works by Australian composers Andrián Pertout, Stuart James, Cat Hope and Kate Moore.

Louise gave a personal reflection on the works and tour:

“These works are the result of long-term collaborations with composers whose work I really admire. The works are particularly special to perform together because three of them were composed for me, on instruments that I love to play. The rich sound world of the works is one I personally really love, of resonant metal percussion instruments across a wide range of deep, low frequency sounds right through the bright, glittering metallics, enhanced by various electronic processes, both live and pre-recorded. It’s an exciting cross-section of approaches to blending the acoustic and electronic, that I think shows how diverse percussion music can be.

The show exists as an album and as a live performance, where the theme of metal is further explored in the video projection – footage of metals from raw to refined is shown on stage: molten, raw materials, shavings and offcuts, and the highly refined instruments themselves [visual projections will be mapped on the instruments by New York artist Ross Karre].

These works were all originally featured amongst other works in my first solo recital series performed between 2014 and 2016. Reflecting on the series, these four really stood out and so were recorded and released as an album in 2017. I feel that I will have a long relationship with these works and will continue to perform them many times. This is my first solo album.”

-Louise Devenish

See the full tour details