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Warren Burt

(Rosalie Edith )

(b Geelong, Victoria, Aug 18, 1951). Australian composer, performer, installation and sound artist, instrument inventor, writer, educator, and researcher. Her early education consisted of high school in both Australia and Canada, followed by a BA (1971, Monash University), Dip Ed (1973, Monash), MA (1974, Monash), and PhD (1983, Monash). An interest in experimental music is apparent from her earliest compositions, many of which involve performance in specific places, improvisation, electronics, graphic notation, and the use of self-built and specially built instruments. These include Improvisations in Acoustic Chambers, 1981, and Soft and Fragile: Music in Glass and Clay, 1982. By 1977 an interest in sound installation and sound sculpture had become well established in her work (Winds and Circuits, Surfaces and Cavities), and is an area in which she has continued to the present day, having presented nearly 50 sound installations worldwide.

Bandt has also been involved in creating electro-acoustic works, often in collaboration with broadcasting organizations; work for or with radio forms a significant portion of her output. Many of these works, while using real-world elements, take a more narrative or illustrative approach to their material compared to the abstractionism of much electro-acoustic work. An electro-acoustic work such as ...


Richard Toop

(b Maidstone, Feb 19, 1951). Australian violinist, improviser, composer, radical luthier, and Hörspiel maker, born in England. Despite gaining a music scholarship for secondary school study, from his mid-teens he was essentially self-taught. After a few years performing and composing in a variety of genres in England, as well as beginning to create experimental string instruments, mainly based on easily affordable Chinese violins, in the mid-seventies he moved to Australia, where he rapidly emerged as a leading figure in a thriving free improvisation scene. In the process, he adopted a notably critical, polemical stance vis-à-vis those fully notated compositions that left no scope for improvisation. In 1986 he moved to Berlin, partly to facilitate work on his project The Relative Violin, which takes a sort of Gesamtkunstwerk approach to the instrument (performing, composing, designing, constructing). He relocated to Australia in 2003.

While Rose’s work tends, understandably, to be assessed in terms of its most radical elements (he has performed with musicians such as Evan Parker, Derek Bailey, John Zorn, and Bob Ostertag) it is, in fact, very eclectic in orientation. As an improviser, he not only has access to the entire canon of virtuoso classical violin technique, but is also at home with its jazz practice from Stuff Smith onwards, as well as any number of regional (ethnic) practices....