Music ensembles

Director (T1, T3): Paul Cutlan

Signup: entry is by email audition. Please email Paul Cutlan before the end of O week in the term in which you wish to attend. Please provide your student Id, and Music Craft/Performance Lab course code (if known).

This ensemble explores established and new and exciting trends in jazz music and its many stylistic offshoots. It is intended for students who are experienced in jazz improvisation and have some practical performance experience. 

Vocalists and instrumentalists on any instrument are welcome in this ensemble. 

Ensemble members will gain insight and experience both as a soloist and as a member of a contemporary jazz ensemble. 

Pieces will be chosen performed in the ensemble from contemporary jazz and jazz-related repertoire. Original works are welcomed! 

New applicants should submit their audition to Paul via email as an MP3. 

Previous members of Advanced Jazz Ensemble are not required to audition. However, they must contact Paul Cutlan by email on or before the end of O week to register.

Audition information, please provide in an email:

A short (one to two minute) recording of you performing a 12 bar jazz blues with a swing feel in the following format: 

• One chorus of melody. 
• Two choruses of improvised solo over the form of the blues clearly outlining the chord sequence.  
• One chorus of melody. 

Please send it as an MP3. 

Drummers play a blues with a swing feel in the following format: 

• Play the rhythm of the chosen blues melody (such as Billie’s Bounce, Tenor Madness) on the kit (one chorus). 
• Two choruses of solo over the 12 bar blues form.  
• One chorus of melody. 

Please send it as an MP3. 

Ensemble members are expected to: 

1. Practise written parts 
2. Prepare for any improvised solos  
3. Listen to recordings of the works being studied 
4. Attend all classes punctually 

Director: Eitan Muir

Signup: no audition is required. 

The Balinese gamelan at UNSW is a variation of the semar pegulingan type, a gong-chime ensemble consisting of up to thirty players. The UNSW ensemble consists of metallophones, gongs and other instruments, such as flutes, fiddles, drums and cymbals. This type of gamelan music is based on a seven-tone scale and can be used to perform a diverse repertoire including contemporary gong kebyar compositions, which are characterised by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic-rhythmic patterns (kotekan). 

Ensemble Directors: Mara Kiek and Llew Kiek

In the Balkan Ensemble, for both singers and instrumentalists, students will learn about characteristic elements of Balkan folk music, particularly the complex rhythms and harmonies that uniquely identify the music of this region. There will be a focus on the vocal technique required for authentic performance of Bulgarian traditional singing and plenty of opportunities for rhythm comping and traditional modal and contemporary improvisation for instrumentalists and vocalists.

Please note, all participants will be required to sing as part of the training. The course is run by two of Australia’s most influential world music pioneers.

Director: Dr Kim Burwell

Signup: by email audition, as outlined below.

Classical chamber music is for pre-formed small ensembles.

Entry is by email audition. Please send to Dr Kim Burwell:

1. A list of ensemble members, student IDs, course codes and instruments;
2. A recording of repertoire that you have begun to rehearse already, even if it is still a work in progress;
3. Details about the repertoire you propose to address during the term.

The repertoire should be challenging and should offer participants shared responsibilities across a range of ensemble skills. It’s fine for the recording to be ‘a work in progress’, but it should show that you are going to be able to manage the repertoire within a term. An holistic approach will be taken to assessment: it will include the work you do during the term, and a performance near the end of term.

Feel free to contact Dr Kim Burwell at any time for more information, or feedback on ideas.

Director (non-academic): Sonia Maddock

Signup: new members must organise a short voice placement prior to registration. Please email cmc@unsw.edu.au during O week to request a time to complete your voice placement.

Please note in 2023 new student entry will be at the start of T1, and T3, but not T2 due to concert programming.

UNSW's 100-voice choir known as the Collegium Musicum Choir was founded in 1975 by Professor Roger Covell and Dr Patricia Brown, and has a long tradition of performing choral-orchestral works and Christmas programs at UNSW to a semi-professional standard. The choir's membership includes undergraduate students from across the university, as well as postgraduates, staff and members of the community - all are welcome.

The Collegium Musicum performs familiar repertoire including oratorios, masses, requiems and other sacred works, and secular works appropriate to a large choir. Repertoire has included Handel's Messiah, Haydn's Nelson Mass, Mozart's Requiem, and Orff's Carmina Burana. The choir also presents less familiar works but by important composers, to introduce both the singers and the audience to another side of choral music, including Tippett's Crown of the Year, Part's Berliner messe and Respighi's Lauda per la Nativita del Signore. 

The choir has a wonderful social aspect as well as focusing strongly on musical performance. It is a significant part of the cultural fabric of UNSW, bringing local and international students from across the UNSW School of the Arts and Media and the entire university together with staff and members of the local community to collaborate in public performance.

Members of Collegium Musicum Choir are eligible for the Willgoss Choral Prize each year.

Director (non-academic): Sonia Maddock

Schedule: Weeks 1-10, Monday from 4pm to 6pm, Sir John Clancy Auditorium

Signup: entry is by audition which will take place in O week. Please visit  https://www.music.unsw.edu.au/choral for information regarding auditions and membership     

Corde, UNSW's chamber choir has existed as an advanced choir in UNSW's choral program since around 1985. It includes only a small number of singers (12-18), including undergraduate and postgraduate students, alumni and staff, and sings challenging, unaccompanied repertoire.

Corde presents a small annual recital each year as well as being part of some concerts of the Collegium Musicum. In recent years, the chamber choir's repertoire has included Copland's In the Beginning, Britten’s Sacred and Profane, Palestrina’s Missa Aeterna Christi Munera, Wesley-Smith's Who Killed Cock Robin? and Debussy's Trois Chansons de Charles d'Orleans.

The evening program also includes the premiere performance of the winning work of the Willgoss Choral Composition Prize.

Membership of Corde is by audition, and is based almost entirely on sight-singing, experience and vocal quality. Singers tend to be experienced choristers with high-level music literacy.

For your audition please be prepared to sing and complete:

1. One piece to sing unaccompanied.
2. Part singing.
3. Sight reading.
4. Aural assessment.

Director: Adrian Lim Klumpes 

Schedule: Weeks 1-5 & 7-10, Wednesday from 4pm to 6pm, Robert Webster G18

Signup: no audition necessary. 

This is a 2-hour performance class that explores the 'how to' of improvisation in a practical setting.  

No prior knowledge of improvisation is necessary; however, participants in this ensemble are expected to be able to play their instruments with some proficiency and to be able to read music.  

The ensemble will perform together in an extended rhythm section and melody instruments workshop setting, with the repertoire being chosen primarily from the jazz tradition though not limited to that.  

The harmonic and melodic structure of the pieces will be analysed and scalic/ modal possibilities suggested. Each student will be given an opportunity to explore these ideas in the performance of the piece(s). Pointers will also be given on group performance, 'groove', dynamics and so on.

Director: Janet Agostino  

Schedule: Weeks 1-5 & 7-10, Wednesday from 4pm to 6pm, Robert Webster 331

Signup: entry is by audition which will take place in O week. 

Students who have played in the Guitar Ensemble previously do not need to re-audition.

The UNSW Guitar Ensemble provides a forum for classical guitar students to explore a wide range of repertoire as well as to refine ensemble skills, including sight-reading, rhythmic and stylistic accuracy, balance and creating an effective tonal palette. There will be performances scheduled throughout the year and participation in these will form part of the assessment for the course. 

Director: Jonathan Ong

Schedule: Weeks 1-5 & 7-10 Thursday from 4pm to 6pm, Room TBA 

Signup: no audition is required. 

The Handbells ensemble features the university's own set of Malmark Bells, a professional instrument that offers students a fun and unique way to make music together. 

The ensemble plays a diverse range of repertoire, ranging from folk tunes and classical music to contemporary, film scores, original compositions; we are only limited by the input in the ensemble. Students have the opportunity to write or arrange their own works for the ensemble, and accepted compositions will give students the opportunity to conduct their own work. The Handbells ensemble plays (at least one) concert at the end of the semester; this may require participation outside of the normal rehearsal hours of the ensemble. 

Up to 14 students will be accepted into the ensemble. No prior experience is required; however, apply promptly as places are limited and fill up fast. 

Director: Eamon Dilworth 

Schedule: Weeks 1-5 & 7-10, Wednesday from 4pm to 6pm, Robert Webster G16

Signup: entry is by email audition. Please email Adrian Lim Klumpes before the end of O week in the term in which you wish to attend and provide an audition mp3 as outlined below. Please also provide your student Id, and Music Craft/Performance Lab course code (if known).

This ensemble is for students who already have practical experience in jazz improvisation and a good knowledge of chordal harmony and associated scales/modes. The ensemble is intended to deepen an understanding of jazz improvisational practice through the performance of pieces carefully chosen in a range of jazz-related styles. Areas of focus include developing an improvisational language, chord/scale theory, guide tones, jazz voicings, group interaction, effective rhythmic expression and knowledge of repertoire. Vocalists and instrumentalists on any instrument are welcome in this ensemble as long as they have the experience and knowledge to complete the audition requirements set out below.

Audition information, please state:  

1. Your instrument(s).  
2. Your background (if any) in improvisation. 
3. Any other relevant information such as any specific improvisatory skills you want to develop or any particular reasons you are interested in this ensemble.

In the same email, please include: 

A short (one to two minute) recording of you performing a 12 bar jazz blues with a swing feel in the following format: 

• One chorus of melody. 
• Two choruses of improvised solo over the form of the blues clearly outlining the chord sequence.  
• One chorus of melody. 

Please send it as an MP3. 

Drummers play a blues with a swing feel in the following format: 

• Play the rhythm of the chosen blues melody (such as Billie’s Bounce, Tenor Madness) on the kit (one chorus). 
• Two choruses of solo over the 12 bar blues form.  
• One chorus of melody. 

Please send it as an MP3. 

Previous members of the ensemble do not need to audition. However, they must contact Adrian by email during O week to confirm their interest in joining the ensemble.

Director: TBA  

Schedule: to be arranged between the director and ensemble members.

Signup: by email audition/discussion, as outlined below.

Proposals for Jazz Chamber Ensembles are invited for T3. This is an exciting opportunity to pursue musical interests that broadly fall within jazz and improvised music. Applications from groups that explore improvisatory practices in a broad range of genres including jazz, intercultural music (e.g. Indian jazz fusion), new music, hip hop, RnB, Electronica and anything else you might be interested in are encouraged. 

Entry is by discussion with Alister Spence. Write a short proposal detailing the creative rationale for your project, the instrumentation and the repertoire. Email your proposal to Alister before the end of O week. Include the student Id for each musician in the group, and either your Music Craft/Performance Lab Course Code, or your Ensemble Elective course code.

A musical sample may also be requested in some cases, but isn’t required in the initial proposal.

Ensemble Director: Matthew Keegan

Schedule: Weeks 1-5 & 7-10: T1 on Tuesday from 4pm to 6pm, and in T3 on Thursday from 4pm to 6pm, Robert Webster G18

Signup: no audition necessary. Please email Matthew Keegan before the end of O week to register. State your instrument and a brief description of any experience you have performing and/or composing jazz (this is not essential). Please provide your student Id, and Music Craft/Performance Lab course code (if known).

This ensemble is for students who are interested to gain an understanding and experience in jazz composition and have a reasonably sound knowledge of music theory, but not necessarily any jazz composition experience. As this is a performance ensemble it is important that students are reasonably proficient on their instruments, however jazz performance experience is not necessarily required.

The course will be both theoretical and practical. Examples will be listened to and analysed and also performed in class time. The relationship between the compositions and the improvisational opportunities that they offer will be explored. There will be two short composition assignments set during the semester and a more substantial composition to be presented at the end of the semester, rehearsed and performed in class time by members of the ensemble. The jazz composition ensemble offers a wonderful opportunity to hear your compositional ideas performed!

Director: Casey Golden

Schedule: Weeks 1-5 & 7-10, Wednesday from 4pm to 6pm, Robert Webster 141

Signup: no audition necessary. Please email Casey Golden before the end of O week to register. Please provide your student Id, and Music Craft/Performance Lab course code (if known).

This ensemble is for students who have little or no jazz performance experience, but are keen to learn how to voice chords, accompany effectively and improvise on the piano in a variety of jazz-related styles. Some piano performance ability is required. 

By listening to audio examples and studying well-known jazz repertoire, the ensemble will gain experience in applying stylistically appropriate chord voicings, bass lines, accompaniment rhythms, modes and scales for improvisation and improvisational approaches, and effective ways to interact as an ensemble. Each member will take turns performing within the ensemble as bass line players, chordal accompanists, melody players and soloists. Time will be given for individual investigation and skill development as well as ensemble performance. 

Director: Ellen Kirkwood

Schedule: Weeks 1-5 & 7-10, Wednesday from 6pm to 8pm, Robert Webster G16

Signup: entry is by email audition. Please email Ellen Kirkwood before the end of O week in the term in which you wish to attend and provide an audition mp3 as outlined below. Please also provide your student Id, and Music Craft/Performance Lab course code (if known).

UNSW Jazz Orchestra is a dynamic ensemble that plays jazz big band repertoire in a range of styles. Some Australian compositions are included in the repertoire. An exciting aspect of the group’s activities is premiering UNSW student compositions. The orchestra performs a concert at the end of each term.  

Previous experience playing jazz and/or improvising is helpful but is not a prerequisite. Sight-reading ability is required on all instruments. 

Brass players from any background are particularly encouraged to apply.  

Jazz Orchestra membership is open to a broad of instrumentalists. 

Previous members of Jazz Orchestra are not required to audition. However, they must contact Ellen Kirkwood by email before the end of O week to register.

Audition requirements: 

Please provide a short (one to two minute) recording of you performing a 12 bar jazz blues with a swing feel in the following format: 

• One chorus of melody. 
• Two choruses of improvised solo over the form of the blues clearly outlining the chord sequence.  
• One chorus of melody. 

Please send it as an MP3. 

Drummers play a blues with a swing feel in the following format: 

• Play the rhythm of the chosen blues melody (such as Billie’s Bounce, Tenor Madness) on the kit (one chorus). 
• Two choruses of solo over the 12 bar blues form.  
• One chorus of melody. 

Please send it as an MP3. 

Students are expected to: 

1. Practise written parts. 
2. Prepare for any improvised solos in their book. 
3. Listen to recordings of the works being studied. 
4. Attend all classes punctually. 

Director: TBA

Schedule: Weeks 1-5 & 7-10, Thursday from 4pm to 6pm, Room TBA

Signup: no audition is necessary, however a good level of musical performance proficiency is required, and sight-reading ability. Please email the SAM office sam@unsw.edu.au before the end of O week to register. Please provide your student Id, and Music Craft/Performance Lab course code (if known).

The Latin Conjunto is dedicated to the performance of Afro-Cuban and Afro-Brazilian genres, such as son, pachanga, mambo, salsa, samba and choro. Both instrumentalists and vocalists are invited to join the ensemble through audition. All students will learn the fundamental rhythms for these various genres and some may elect to learn the percussion instruments.

Director: Sonya Lifschitz

Schedule: Weeks 1-5 & 7-10, day/time TBA

Signup: entry is by audition. Please email Sonya Lifschitz before the end of O week. Please provide your student Id, and Music Craft/Performance Lab course code (if known).

The Ensemble's mission is to INSPIRE and PROVOKE both the music makers and the listeners to examine, broaden and re-define the boundaries of music and the musical experience in the 21st century. 

UNSW NEW MUSIC COLLECTIVE was formed in 2018 under the directorship of the internationally-acclaimed pianist Dr Sonya Lifschitz. The ensemble is dedicated to the creation and performance of new work as well as experimental and concert music of the 20th and 21st centuries. 

Currently, the ensemble consists of eight members who bring exceptional performance, improvisation, arranging and compositional skills to enable creation and performance of advanced and challenging contemporary (art) music repertoire in curated, imaginative contexts. In 2018/2019, the ensemble performed: 

Workers Union (1975) by Louis Andriessen; Changing Light (2002) by Kaija Saariaho; Tuning Meditation by Pauline Oliveros; Opera with Objects (1997) by Alvin Lucier; The Wonderful Widow of Eighteen Springs (1942) by John Cage; Action Music 2 (2018) by Erik Griswold; Coming Together (1971) and Attica (1972) by Frederic Rzewski, and Facing the Danger (1986) by Vincent Plush among others. 

Membership of the UNSW New Music Collective is by audition only and is based on demonstrated high-level performance skills, interest in contemporary (20th and 21st century) concert music, openness and curiosity to work with graphic notation, including elements of improvisation, and well-developed collaborative skills. 

Ensemble Director: Dr Adam Hulbert

Schedule: Weeks 1-5 & 7-10, Monday from 4pm to 6pm, Robert Webster 140 

Signup: auditions will take the form of an interview. Please contact Adam Hulbert via email to organise a time to meet and please bring along any written pieces or musical influences. Maximum 14 places.

Sound Lab (Live) ensemble is offered to musicians who would like to produce and perform new electroacoustic works. Performers are encouraged to use their existing techniques with DAW environments and traditional instrumentation and/or expand these to incorporate UNSW’s collection of fixed-architecture and modular synthesisers. Primary tools for the performance will be Ableton Live and hardware synths, and performers will be given support for learning these where needed.

The ensemble will perform live in a multimedia environment, and video artists/VJs are welcome to apply. New works are performed live at the end of semester. 

Director: Maggie Ferguson (TBC)

Schedule: Weeks 1-5 & 7-10, Tuesday from 4pm to 6pm, Room TBA

Signup: no audition is necessary however a good level of musical performance proficiency is required, and sight-reading ability. Please email Dr John Napier. to express your interest by the end of O week. Please provide your student Id, and Music Craft/Performance Lab course code (if known).

The Tango Ensemble will play classic Argentine tangos and milongas, using scores originally mostly written and arranged between 1930 and 1950. For pianists, players of orchestral strings, flute, clarinet, saxophone. Please note places in this group are limited, particularly for pianists.

Conductor (non-academic): Dr. Steven Hillinger

Schedule: Weeks 1-10, Tuesday from 6:30 to 9pm, Sir John Clancy Auditorium

Signup: entry is by audition. Information regarding the registration process for new and existing members can be accessed via this link: https://www.music.unsw.edu.au/instrumental/unsw-orchestra. Auditions will be held each term in O Week. Please note that at various times auditions will only be for particular instruments. Vacant positions will be listed on the UNSW Orchestra webpage above. Please email cmc@unsw.edu.au with any enquiries

Please be prepared to play and complete two contrasting pieces unaccompanied, scales and sightreading.

The minimum standard is AMEB Grade 8 or equivalent.

The UNSW Orchestra was founded in 1989 to bring the live performance of fine music to the University community and to the many people who live in the surrounding suburbs.

The Orchestra was established by three undergraduate students, Jan Howe, Richard Pulley and Emery Schubert, with guidance from Professor Roger Covell of the (then) School of Music and Music Education and was initially funded by a grant from the (then) Vice Chancellor, Professor Michael Birt. The vitality of the Orchestra today owes much to all these founders’ vision and caring.

The Orchestra’s repertoire is broadly from the Classical (1750-1810) and Romantic (1810-1910) eras. More recent works, especially works by contemporary Australian composers, are well represented in the Orchestra's programs, as is film music from the past four decades. Concertos for various solo instruments figure prominently. The soloists in these concertos are mostly students from the University’s music department. All musicians are members of UNSW Society of Orchestra and Pipers

The Orchestra's first concert took place on 15 August 1989, and on 14 May 2010 it gave its 100th public performance. There are, at any one time, about 65 players in the Orchestra. Additional guest players are brought in as the need arises, usually for the rarer instruments such as bass clarinet, contrabassoon, harp and celeste, or when a large-scale symphonic work is on the program.

More than 1000 UNSW students both from UNSW School of the Arts and Media and other faculties, staff and alumni have played in the Orchestra over the first 30 years of its existence. This remarkable figure shows what a wealth of amateur musical talent there is on campus. It also reflects the inevitable annual turnover among players, as existing players go off with their degrees and new players join.

Members of the UNSW Orchestra are eligible for the Willgoss Instrumental Prize each year.

Conductor (non-academic): Paul Vickers

Schedule: Weeks 1-10, Tuesday from 4pm to 6:15pm, Sir John Clancy Auditorium

Signup: There are no audition requirements for UNSW Wind Symphony. Just register and turn up! If you have any questions, please email cmc@unsw.edu.au or get in touch with the Society of Orchestra and Pipers. Information about registration and membership can be located here: https://www.music.unsw.edu.au/instrumental/unsw-wind-symphony

The UNSW Wind Symphony was founded in 1991 (as the UNSW Wind Band) to perform works specially composed for wind ensembles with or without percussion. The Wind Symphony provides a rich experience for musicians who prefer to play this repertoire, largely dating from after 1900. Also in the repertoire of the Wind Symphony are arrangements of works from all eras and styles, including jazz, popular and art-music forms.

The Wind Symphony offers a congenial home, as well, to many of the woodwind and brass players on campus, and comprises about 50 players at any one time both from UNSW School of the Arts and Media and other departments.

The Wind Band (as it was first called) was established by two undergraduate students, David Gilfillan and Emery Schubert, and gave its first concert on 26 May 1991. 

The regular conductors of the UNSW Wind Band in past years were: David Gilfillan (1991-1993), Chris Blenkinsopp (1994-1998 and 2001-2003), Gary McPherson (1999-2000), Mathias Rogala-Koczorowski (2004-2006), Steven Hillinger (2006-2012), and Dr Steven Capaldo (2013-2017). Emery Schubert has been a frequent guest conductor.

Since 2013, the UNSW Wind Band has been known as the UNSW Wind Symphony, reflecting the shift in the ensemble's repertoire over its history and all members are a part of UNSW Society of Orchestra and Pipers.

Members of the UNSW Wind Symphony are eligible for the Willgoss Instrumental Prize each year.

Director: Tony Lewis

Schedule: Weeks 1-5 & 7-10, Thursday from 4pm to 6pm, Robert Webster G18

Signup: no audition necessary. Please email Tony Lewis before the end of O week to register. Provide your student Id, and Music Craft/Performance Lab course code (if known).

This ensemble features the djembe drums (also ‘jembe’) a ‘goblet’ shaped drum whose origins are associated with the Mandinka peoples of the former Mali Empire. These drums are now part of various musical cultures from West Africa including but not limited to the nations of Senegal, Guinea, and Mali. The djembe is played with the hand while the three accompanying dunun drums (also dundun, djun djun) and bells are played with sticks. Traditional djembe ensemble music is learned aurally and presents rhythmic challenges to the musician. The ensemble instruction will also include some singing and dancing.