Music Alumni Profiles
Eleanor Cameron, violinist
In July 2004 Eleanor completed her MA (Hons) in Music Performance and Research, exploring twentieth-century music written in response to war. She was supervised by Fintan Murphy and Joel Crotty and taught by Elizabeth Sellars. Since August 2005 Eleanor has been living and working in Inverness, Scotland, where she teaches and performs with various local chamber groups. She is also co-founder of the London-based Pentalpha Ensemble.
Eleanor writes:
'Writing now on an autumnal October afternoon in the Scottish Highlands, Monash University feels incredibly far away. However, what I learned there, or rather the experience I gained through completing my Masters, is something that remains as present to me now as when I was studying. The reason for this of course is that what I left Monash with, aside from a degree I am proud of, was a greater sense of myself as a musician and a developing idea of where and how I could contribute to the world we live in.
Continually supported and encouraged by the staff, but nevertheless given the freedom to explore the project of my choosing, I was able to combine my love of musical performance with my interest in history to explore a topic that, although historical, is also a disturbing and continuing reality. That is, by means of researching and performing some of the music that reflected twentieth-century war, I was able to freely develop my own musical voice and attempt to transform, through performance, my historical knowledge and understanding into my present historical context. What the experience therefore gave me was a greater understanding of myself as a communicator, and the role that music among other art forms can play in deciphering our often crazy world. Importantly, my necessity and drive to foster greater understanding between people, at whatever level, and thus to contribute actively and positively to society is something that while it remains with me, was nurtured at Monash.
Philip Czaplowski, composer
In 2007 Philip Czaplowski completed a PhD in music composition at Monash under the supervision of Thomas Reiner. Performers of Philip's music include the Melbourne Symphony Orchestra, Christchurch Symphony Orchestra, the New York Miniaturist Ensemble, Orquestra Antunes Câmara, Australia Pro Arte, the Canberra Wind Soloists, the Chamber Strings of Melbourne, Geelong Chamber Orchestra, the Australian Chamber Soloists, Australia Felix, Kazimierz Dawidek, Harry Sparnaay, Carla Rees, Lisa Cella, Jeffrey Crellin, and many of Australia’s leading musicians.
Philip writes:
'Studying for a PhD in Composition at Monash was an important and rewarding milestone in my career as a composer. My thesis was about the use of multiple styles as a compositional approach, and my research was invaluable in strengthening my compositional activities. In a world where information and knowledge circulate in almost overwhelming quantities, it is important to remain focused on what is personally relevant and useful—and finely honed research skills are essential to this task. One of the most appealing aspects of the school of music at Monash is that, in addition to a tradition of excellence, their approach to research encourages new ideas and expansiveness of thought. I am proud to have completed my Doctorate at Monash.’
Daviela Kaleva, Research Librarian, Deakin University
My PhD experience at Monash was a great vehicle for personal and professional growth. In 2004 I completed my thesis on an analytical methodology of the melodrama technique by J.E. Eberlin, L. van Beethoven and C.M. von Weber. I was very fortunate to have been supervised by Associate Professor Craig De Wilde and the late Emeritus Professor Andrew D. McCredie.
The School of Music has a supportive research culture, where novices can find their way. The approachability of all staff and their interests in my progress gave me the confidence to realise new research ideas. Moreover, the atmosphere at the School of Music allowed for creativity and deviation from the canons of musicology, which allowed me to pursue unconventional approaches.
The resources and facilities were sufficient; I am forever grateful to the Postgraduate Centre for providing an office for me, especially during the writing-up stage. The expertise of the music librarians and the document delivery staff were crucial to my research, requiring eighteenth-century primary sources and German literature. These librarians inspired me to pursue my interests in information management.
The excellent administrative support ensured that my studies were funded and backed up by field trips and conference attendances. For example, I was awarded a German government scholarship, Weimarer Klassik, which took me to Germany where I met and worked alongside some of the best specialists in my research field; the King’s College London/Monash Research Travel Grant Award allowed me to present two new papers in renowned institutions, and the Postgraduate Publication Award, Faculty of Arts, funded the writing of articles.
Peter Micic, China scholar
In 1992, Peter Micic completed an MA in Music at Monash under the supervision of Reis Flora, Margaret Kartomi, Carol Williams, among others. Peter went on to complete a PhD (2000) at Monash in the Department of Asian Languages and Studies in modern Chinese music history.
His work is known internationally among scholars of Chinese culture and music and he has published articles and book reviews in a number of prestigious refereed journals in the China field, including Chime (European Foundation for Chinese Music Research), ACMR Journal and The China Journal. He has a full-length chapter in a recently published book titled Lives in Chinese Music (2009) edited by Helen Rees, University of Illinois Press, and is currently writing a book on the imperial women in the Forbidden City tentatively titled Sex in the City: The Qing Harem
Peter writes:‘At certain points in our lives we are granted an experience that anchors itself so deeply in our consciousness it becomes a touchstone, an anchor point from which we can draw on again and again throughout our lives.
Studing for an MA in Music almost twenty years ago was such an anchor point for me. It was a time of personal growth and the building of relationships. The relationship between student and teacher was not always pleasant.
The experience was very often a feeling of resistance and delight, and at times I thought of a vulture picking meat from the bones. While this ‘vulturing’ was sometimes painful, it was intended to chisel me, throw away the useless parts, and nudge me to achieve my fullest potential. In the process, I raised my own bar of excellence.
The MA at Monash was one of the best things I ever did.’