You are on page 1of 28

CURRICULUM VITAE

NAME
Dr Ian Leslie Shanahan.

ADDRESS
26 York Street
Beecroft NSW 2119
AUSTRALIA

TELEPHONE & E-MAIL


Home 0406 871739
E-mail < ian_shanahan@hotmail.com >

DATE & PLACE OF BIRTH


13 June 1962, at Camperdown, Sydney, Australia.

AGE
54 years, 11 months.

MARITAL STATUS
Single.

EDUCATIONAL ACHIEVEMENTS
1. DOCTOR OF PHILOSOPHY (IN COMPOSITION)
I was enrolled in the PhD program (from June 1993 to March 2002) at the University of Sydney under the
supervision of Professor Anne Boyd, graduating in October 2003. My three examiners were: Professor Brian
Ferneyhough, Professor Graham Hair, and Dr Gordon Monro.
Thesis: A World of Becoming: Eleven Original Compositions, with Analytical Notes, by Ian Shanahan.
Please note that I had already fulfilled all prerequisites for entry into this PhD degree, these being equivalent to
work that would gain a Master of Music (Hons.) degree in composition: various course-work and original
compositions, plus a large PhD(Prelim.) thesis entitled Recorder Unlimited: A Preliminary Study of the Alto
Recorders Multiphonic Resources which was submitted in April 1993.

2. BACHELOR OF MUSIC (HONOURS)


First Class Honours and University Medal.
Majoring in Composition and Pure Mathematics [at Honours level], University of Sydney (19801985).
Thesis: The Avant-Garde Recorder: A Preliminary Study of some Recent Developments in Alto Recorder
Playing Techniques, and their Notation.
Composition teachers: Ian Fredericks, Eric Gross, Peter Sculthorpe.

3. HIGHER SCHOOL CERTIFICATE, ETC.


Marsden High School, Ermington, Sydney, NSW (19741979). Dux of the School, receiving a very high Higher
School Certificate result overall (and particularly in music, mathematics and physics). I commenced school
kindergarten in 1967. Self-administered music studies (in recorder) began in 1969; music composition soon
thereafter, mainly as a result of exposure to (predominantly contemporary) music through concerts, my
fathers library of recordings, and Martin Wesley-Smiths ABC Primary School radio show.

~1~
POSITIONS HELD
1. Chess Problem Editor, Australian Chess magazine (January 2003 December 2007).
2. President, Fellowship of Australian Composers [FAC] (19881992).
3. Committee Member, FAC (19831993).
4. Committee Member, Artistic Advisory Panel to the Sydney Spring International Festival of New Music
(19911993).
5. Committee Member, The Alpha Centauri Ensemble (19911993).
6. Secretary/Treasurer, Australian Branch of the International Society for Contemporary Music [ISCM]
(19891993).
7. Committee Member, Australian Branch of the ISCM (19831986).
8. Founding Committee Member, Music Performed (19841989).
9. Chief Delegate for Australia, Asian Composers League Conference/Festival, Taipei, Taiwan (1986).
10. Chief Delegate for Australia, Asian Music Festival, Tokyo/Sendai, Japan (1990).
[Both 8 and 9 above included performances of contemporary Australian recorder compositions.]
11. Founding Member and Editor-in-Chief, Editorial Panel of the Australian contemporary music journal
Ossia (19891992).
12. Founding Member, Artistic Advisory Panel of the Australian contemporary music Compact Disc series
Ossia (1992).
13. Fellowship recipient, ABC Young Composers Summer School (1983, 1984).
14. Composer Fellow, Inaugural Pacific Music Festival, Sapporo, Japan (1990).
15. Fully Represented composer, Australian Music Centre [Sounds Australian] (1987).
16. Judge, Yoshiro Irino Memorial Prize for Composition (1986).
17. Judge, Asian Composers League Young Composers Award (1990).
18. Judge, Australian Music Centres Sounds Australian Awards (1989, 1990, 1991).
19. Judge, Blue Mountains Eisteddfod [Composition Section] (1993).
20. Member, Australian Jury for the ISCM World Music Days (1990, 1991).
21. Fellow, British Chess Problem Society (1988).

~2~
WORK EXPERIENCE
A. ACADEMIC POSITIONS

1. Lecturer, Department of Music, University of Sydney (casual: 2003, co-taught with Prof. Anne Boyd).
SUBJECT: The Music of Igor Stravinsky (one 13-week course for undergraduate music students).
2. Associate Lecturer in Composition, Department of Music, University of Sydney (0.6 contract: July
November 2001).
SUBJECTS: Principal Composition 4 (2nd year BMus composition students), Music in Western
Culture (the 20th-century component: Debussy onwards), 20th-Century Harmony, and
Composers Workshop/Performance Theory.
3. Lecturer, Composition and Music Technology Unit, Sydney Conservatorium of Music (casual: July
November 2001;* 2004 ).
SUBJECTS: Australian Music (1st year MMus students);* Composition (1st year BMus students).
4. Associate Lecturer, Music Area, School of Contemporary Arts, University of Western Sydney (0.5,
tenured: February 19962004).
SUBJECTS: Performance, Improvisation, Concert Practice, Ensemble (in a wide variety of styles and
genres), Composition, Analytical Models, Contemporary Arts 1 & 2 (interdisciplinary and
multimedia studies); plus occasional lectures given in various Musicology subjects (e.g. on
music and mysticism, analysis, and about late-20th-century music notation).
5. Lecturer, Department of Music, University of Sydney (casual: 19962002).
SUBJECT: Composition 1 (two 14-week core courses for 1st year BMus composition students).
6. Lecturer, Department of Music, University of Sydney (casual: 19942003).
SUBJECT: Twentieth-Century Harmony 1 & 2 (two 14-week course electives for 2nd, 3rd & 4th year
BA/BMus students and Postgraduates; compulsory for BMus composition students).
7. Lecturer, Department of Music, University of Sydney (casual: 19941999, 20012002).
SUBJECT: Orchestration 1 & 2 (two 14-week course electives for 2nd, 3rd & 4th year BA/BMus
students and Postgraduates; compulsory for BMus composition students).
8. Lecturer, Goulburn TAFE College (casual, relieving: 1992).
SUBJECTS: Harmony, Composition, Performance and Improvisation (percussion, bass guitar, etc.).
9. Composer/Performer-in-Residence (Visiting Fellow), School of Music, University of Melbourne (full-
time position: September 1991).
SUBJECTS: A variety of composition- and performance-related topics.
10. Lecturer, Musicology Unit, Sydney Conservatorium of Music (casual, relieving: JulyAugust 1991 and
OctoberNovember 1994).
SUBJECTS: Contemporary Studies (4th year BMus students) and Music Now [Post-Modernism]
(4th year BMusEd students).
11. Lecturer in Composition, Department of Music, University of Sydney (full-time, relieving: MarchJuly
1989).
SUBJECT: Composition (1st to 4th year BMus composition students and Postgraduates majoring in
composition).
12. Lecturer, Department of Music, University of Sydney (casual: 19891997).
SUBJECT: Extended Instrumental Techniques: History, Aesthetics, Acoustics, Compositional and
Performance Practices (14-week research seminar covering numerous instruments, for 3rd &
4th year BA/BMus students and Postgraduates).
13. Tutor, Department of Music, University of Sydney (casual: 19931998).
SUBJECT: Acoustics (course elective for 2nd, 3rd & 4th year BA/BMus students and
Postgraduates).
14. Tutor, Composition and Music Technology Unit, Sydney Conservatorium of Music (casual, relieving: 1st
Semester 1989).
SUBJECT: Introduction to computer music (1st year Jazz studies students).
15. Tutor, Department of Music, University of Sydney (casual: 1986).
SUBJECT: Aural Perception (1st year BA/BMus students).
16. Marker, Department of Music, University of Sydney (casual: 19861999, 2001).
SUBJECT: Orchestration (2nd year BA/BMus students).
17. Marker, Department of Music, University of Sydney, and the Composition and Music and Technology
Unit, Sydney Conservatorium of Music (casual: 19862012).
SUBJECTS: Music 1 (1st year BA/BMus students); Examiner of numerous BMus(Hons.), Masters,
and PhD theses at both institutions, and as an external examiner of theses from elsewhere.

~3~
18. Marker, Department of Pure Mathematics, University of Sydney (casual: 1984, 1986).
SUBJECT: Algebra and Analysis (2nd & 3rd year BSc/BEng/BA students).

~4~
B. GUEST APPOINTMENTS

1. Consultant, School of Visual and Performing Arts, University of Western Sydney, Nepean (19891990).
The position required me to design a complete curriculum for an undergraduate degree in music at the above institution.
(The project was terminated due, it seems, to lack of sufficient funds.)
2. Guest Performer, BolognaNationes Days, Bologna University, Italy (1988).
3. Guest Composer/Performer and Lecturer, Asian Composers Forum in Sendai, Japan (1987).
4. Sundry Guest Lecturing:
a. Department of Music, University of New England (November 1992): a lecture/demonstration
entitled Playing and Composing for the Recorder Today (Extended Recorder Techniques).
b. The New Music Conference, Brisbane (1990): Extended Recorder Techniques.
c. Department of Music, University of Sydney (October 1987): Mathematical and Acoustical Principles
of Frequency Modulation Sound Synthesis, and their Compositional Application.
d. Department of Music, La Trobe University (September 1987): Extended Recorder Techniques.
e. Sydney Branch of the Musicological Society of Australia (August 1986): Multiple Sonorities on the
Recorder.
f. Department of Music, University of Sydney (March 1986): Multiple Sonorities on the Recorder.
g. Australian Music Centre (October 1984): lecture relating to my own compositions.
h. Secondary School System (1984): occasional lectures relating to my own compositions.

C. PERFORMANCE EXPERIENCE (SEE ALSO B.2 & 3 ABOVE.)

1. Recorder playing (1969).


I now professionally specialize in post-1960 recorder music, and have commissioned at least 30 compositions
(mostly by Australian composers). Activities include:
a. Studio recording at 2MBS-FM (1988), EMI/Studios 301 (1990), ABC (1992) and UWS (1996).
b. Numerous solo recitals within the University of Sydney (1980).
c. Solo recitals within the University of Western Sydney (Kingswood) (1996).
d. Solo concert performances elsewhere in Australia: for example, at the Blue Mountains Festival
(1988), the ANZAAS Conference (Sydney, 1988), the New Music Conference (Brisbane, 1990), the
University of Melbourne (1991), the Sydney Improvisation Festival (1994), New Music Forum
(Contrasts 6, Melbourne Fringe Festival, 1995).
e. Professional ensemble playing: austraLYSIS (1993), Third Sydney Spring International Festival
of New Music (1992), Eighth Sydney Spring International Festival of New Music (1997), Tenth
Sydney Spring International Festival of New Music (1999), The Australian Womens Music
Festival (1997), Symeron (1992), Canberra Pro Arte Orchestra (1992), ELISION, 1993), After ...
Thought [The Warringah Music Festival Ensemble] (1989), Van Diemens Bush Band (19871988),
William Coates 31-Note Music Group (19861988), Plectra (19851987), The Renaissance Players
(1981, 1995, 1997, 2004).
f. Workshop experience (new recorder music/techniques): Contemporary Performers and
Composers Fellowship (March 1992), Music Performed (October 1984).

2. Trombone playing (1974).


University of Western Sydney, Kingswood (1996: Big Band; various chamber ensembles); the Sydney
University Orchestra [1st Tbn.] (19801990); Brass Monkeys Ensemble (1984).

3. Choral work.
The Contemporary Singers (19861988), Pro Musica Choir (19801985).

4. Performance in a Javanese Gamelan.


Sydney University Gamelan (1987).

~5~
5. Electroacoustic Sound Projectionist/Assistant.
Benjamin Thorn/Music Performed [music theatre] (1989); recitals by Roslyn Dunlop [clarinet] 1987), Laura
Chislett [flute] (1988), ELISION (1987); Symeron (1990); sundry concerts within the Music Department,
University of Sydney (19811990); the First Sydney Spring International Festival of New Music (1990).

D. SUPERVISION OF STUDENTS (HONOURS UNDERGRADUATES AND POSTGRADUATES)

1. BMus(Hons), the Department of Music, University of Sydney (19912000).

a. Michle Hughes (1991). 10,000-word thesis: an analysis (with regard to performance practice) of
Chris Denchs solo piccolo composition d/ploy.
b. Paul Dhasmana (1995). 10,000-word thesis: an analysis of Gerard Brophys solo flute composition
Nymphe-Echo Morphologique.
c. Benjamin Loomes (1996). 10,000-word thesis: an examination of Sacred Geometry and gematria in Ian
Shanahans composition Lines of Light.
d. Barton MacDonald (1996). 15,000-word thesis: the philosopher Robert Fludd (15741637) and his
conception of music; its manifestation in the music of Edgard Varse.
e. Nick Wales (1996). 10,000-word thesis: electronic popular music.
f. Carl Panvino (1999). Fourth-year (honours) portfolio of compositions, together with a 10,000-word
thesis: figure and gesture in the music of Brian Ferneyhough.
g. Philip Swan (1999). 10,000-word thesis: synaesthesia in the harmonic language of Olivier
Messiaens compositions Couleurs de la Cit Cleste and Sept Haka.
h. Michael Hooper (2000). 10,000-word thesis: geometric durational structures, theology, and serial
processes in Igor Stravinskys A Sermon, A Narrative and A Prayer.

2. MMus(Hons), the Department of Music, University of Sydney (19951997, 2004).

a. Jacqueline Morton (19951997). Composition tutorials, and overall supervision of her composition
portfolio.
b. Ahana Star (2004). 20,000-word thesis: a feminist Jungian analysis of Moya Hendersons opera
Lindy.

3. BA(Music, Honours)/BMus(Hons), the Department of Music, School of Contemporary


Arts, University of Western Sydney (Kingswood) (2000).

a. Steve Clark (2000). Overall supervision of his composition portfolio [as the principal supervisor].
b. Milica Stefanovic (2000). Overall supervision of her composition portfolio [as the secondary
supervisor].
c. Ahana Sofia (2001). Overall supervision of her composition portfolio [as the principal supervisor].
d. Mark Lewis (2003). Adjunct supervision.

E. OTHER ADMINISTRATIVE EXPERIENCE (IN ACADEME)

1. Curriculum Design and/or Administration (University of Sydney, Department of


Music, and the Sydney Conservatorium of Music*).

a. The Music of Igor Stravinsky (2003). See A.1.


b. Principal Composition 4 [& subject coordinator] (2001). See A.2.
c. Music in Western Culture {Part 2} (2001). See A.2.
d. Composers Workshop/Performance Theory (2001). See A.2.
e.* Australian Music (2001). See A.3.
f. Composition 1 [& subject coordinator] (1996). See A.5.
g. Acoustics [subject coordinator] (19961998). See A.13.
h. Twentieth-Century Harmony 1 & 2 [& subject coordinator] (1994). See A.6.
i. Orchestration 1 & 2 [& subject coordinator] (1994). See A.7.

~6~
j. Extended Instrumental Techniques research seminar (19891997). See A.12.
k. Aural Perception (1986). See A.15.

2. Curriculum Design and/or Administration (University of Western Sydney, Kingswood,


School of Contemporary Arts, Department of Music).

a. Music Performance 1 & 2 [unit coordinator and administrator] (1996). See A.4.
b. Improvisation Modules from within various music performance units {in Free Improvisation,
Comprovisation [composing for improvisers], Renaissance Improvisation, and Improvising with
Serial Constructs} (1996). See A.4.
c. Analytical Models {Part 3: Schenkerian Analysis; Post-Tonal Architectonics; Symmetry and
Serialism} (2002). See A.4.
d. Contemporary Arts 2 {sacred geometry and proportion: connecting music to dance and theatre}
(2001). See A.4.

3. Compilation of Reports.

a. University of Sydney, Department of Musics Annual Report (1994).


b. University of Sydney, Department of Musics Research Report (1993).

F. OTHER WORK EXPERIENCE

1. Radio Broadcasting.
Full production of a radio program for the Fellowship of Australian Composers on 2MBS-FM (October 1988);
regular broadcasting/interviews in the monthly radio programs of the Fellowship of Australian Composers
on 2MBS-FM (1990); interviews etc. on Radio Northern Beaches (1991).

2. Concert Assistance, Recording and Organization.

a. Stage Manager, Symeron (1990).


b. Concert Organizer, Recorders Unlimited [joint recital with Benjamin Thorn] (1989).
c. Assistant, WATT (19861988).
d. Assistant Stage Manager, The Seymour Group (19821984).
e. Member, Thursday 5.15 Concert Committee, Department of Music, University of Sydney (1980
1984).

~7~
PRIMARY RESEARCH INTERESTS
1. Documentation (and realization in live performance/recording) of the full technical and artistic potential
of the recorder: acoustics, extended techniques, and their notation.

2. Application and development of the above within the field of music education.

3. Documentation and notation of extended techniques for other instruments, as arising from my own
(para)compositional researches.

4. Comprovisation composing for improvisers; regulation of real-time performative freedom as a


compositional parameter.

5. All facets of computer music composition and performance: software development; interactive
possibilities; digital sound synthesis (mathematical foundations and sonic development); algorithmic
composition; (psycho)acoustics; development of audio-visual artforms/multimedia etc.

6. Musicological and compositional studies: various aspects of the New Complexity and musical
complexity in general; manifestations (and meanings) of esoteric knowledge and sacred proportions
in musical composition.

7. Advanced and interdisciplinary compositional, theological, philosophical, scientific, metaphysical, and


esoteric studies: the forging of a personal, living musical cosmology in Christ.

8. Alphanumerical patterns in the Urtexte of the Holy Bible particularly that of the New Testament.

~8~
PRIZES & AWARDS

1. The Whyatt Medal, for chess problem composition and services to the art of chess problems in Australia
(2016).

2. The Inaugural Peter Platt Memorial Scholarship, awarded to the most distinguished person to further
their research studies in music, ... in Musicology, Modern Composition or Musical Performance ... [and
who has] outstanding qualifications in at least two of the above areas {the prize-money of $4,000 being
used to fund a CD of Australian recorder music entitled Harmonia} (2003).

3. Two nominations (by the NSW panel) for the 1998 Sounds Australian National Award, for the Best
Composition by an Australian Composer {[p]s(t)ellor/mnme and 153 Infinities} performed during
1997.

4. The Marienberg Sydney Spring Award for Composition, for the most outstanding original Australian
composition {Dimensiones Paradisi} performed during the Ninth Sydney Spring International
Festival of New Music (1998).

5. Life Membership of the Fellowship of Australian Composers (1998).

6. The Inaugural Sydney Spring Award for Composition, for the most outstanding original Australian
composition {[p]s(t)ellor/mnme} performed during the Eighth Sydney Spring International Festival of
New Music (1997).

7. The Adolf Spivakovsky Memorial Prize for Composition {for Cycles of Vega} (1991).

8. Selection of Solar Dust: Orbits and Spirals by an Australian Jury for the ISCM World Music Days (1990).

9. Commonwealth Postgraduate Research Award (19861987).

10. Judges Commendation, the Inaugural 2MBS-FM/NSW Premiers Department Composition Award (1986).

11. University Medal, University of Sydney (1986).

12. Selection of Echoes/Fantasies by an Australian Jury for the ISCM World Music Days (1985).

13. The Sarah Therese Makinson Prize for Composition (1985).

14. The Ignaz Friedman Memorial Prize for Composition {Echoes/Fantasies} (1984).

15. The ABC/Department of Education Composition Award {3 Idioms [Withdrawn]} (1979).

~9~
CHRONOLOGICAL LISTING OF PUBLICATIONS
JOURNAL ARTICLES, LECTURE PAPERS AND REPORTS

1. A Basic Circe Variant: Strict Circe, The Problemist Vol.12 No.10 p.194, July 1986.
2. Recorder Unlimited: An Introduction with special consideration of Multiple Sonorities: lecture paper
delivered to the Sydney Branch of The Musicological Society of Australia, The University of Sydney,
August 2, 1986.
3. Recent Australian Music: Australian Country Report to The 11th Asian Composers League
Conference, Taipei, Taiwan, October 1986.
4. ELISION ... The Cutting Edge of Sound, The Australian Composer: Newsletter of the Fellowship of
Australian Composers p.3, August 1987.
5. The Eleventh Asian Composers League Conference/Festival, The Australian Composer: Newsletter of
the Fellowship of Australian Composers pp.45, August 1987.
6. Conference Paper: Seminar C (Contemporary Recorder Techniques), Asian Composers Forum in Sendai,
Japan, September 19, 1987.
7. Sounds Unlimited, 1988 Blue Mountains Festival Performing Notes, The Blue Mountains Festival Ltd.,
Darlinghurst NSW, Australia, pp.1215, 1988.
8. Success Stories, The Australian Composer: Newsletter of the Fellowship of Australian Composers p.7,
December 1988.
9. Recent Travels, The Australian Composer: Newsletter of the Fellowship of Australian Composers
pp.78, December 1988.
10. The Theory of Bitones, Ossia No.1 pp.1723, Winter 1989.
11. Brief [heavily edited] analyses of compositions by Eric Gross (3 Klavierstcke) and Peter Tahourdin
(Quartet for Strings) in the Handbook accompanying the Anthology of Australian Music on Disc,
Canberra School of Music, December 1989.
12. Australian Music During 1989: Australian Country Report to The 13th Asian Composers League
Conference/Festival, Tokyo/Sendai, Japan, March 1990.
13. Modern Mandolin Notation, Federation of Australasian Mandolin Ensembles Newsletter Vol. 13
No.2, May 1991.
14. Multicultural Influences on Australian Composition, in The Composer Speaks: Composers and Their
Colleagues Discuss Australian Music (ed. Graeme Skinner), Sounds Australian, Sydney, Australia,
pp.3235, June 1991.
15. Recorders Now and Then, [Review] The Recorder: Journal of the Victorian Recorder Guild No.13
pp.2324, June 1991.
16. Ideal Circe Serieshelpstalemates with KBS versus K, Ideal-Mate Review No.40 p.15, AprilJune 1991.
17. The Malaise of (not just) Australian Music, Context No.2 pp.3437, Summer 1991.
18. The Asian Composers League, and Related Issues, Sounds Australian Update pp.1112, December
1991 January 1992.
19. Eric Gross: A Profile of the Composer, in Contemporary Composers (ed. P. Collins and B. Morton), St
James Press, London, pp.350351, 1992.
20. (ed., with Chris Dench): An Emotional Geography of Australian Composition, Sounds Australian:
Journal of Australian Music No.34 pp.832, Winter 1992.
21. Some Random Thoughts on John Cage (1912 1992), and New Music, Unpublished Paper, Sydney,
Australia, December 21, 1992: delivered as a Radio Lecture/Performance as part of A Tribute to John
Cage: Returning the Compliment, ABC-FM Stereo, December 21, 1992.
22. Foreword to One Hundred Chess Compositions (by Peter Wong), Privately Published, Sydney, Australia,
p.6, July 1994.
23. A Footnote to Turning an Anderssen into an Indian, The Problemist Supplement No.16 p.126, January
1995.

~ 10 ~
24. Ian Shanahan, in Sound Ideas: Australian Composers born since 1950 A Guide to their Music and
Ideas (ed. Brenton Broadstock), Australian Music Centre, Sydney, Australia, pp.209212 & pp.325327,
March 1995.
25. The view from my laboratory, April 1995, Sounds Australian: Journal of Australian Music No.46
pp.2526, Winter 1995.
26. (ed., with Chris Dench): An Emotional Geography of Australian Composition II, Sounds Australian:
Journal of Australian Music No.46 pp.931, Winter 1995.
27. Chess Problem Corner (Part 1), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.6566 pp.6971, September 1995.
28. Foreword to 200 Chess Problems (by Arthur Willmott), Privately Published, Adelaide, Australia, pp.34,
November 1995.
29. Chess Problem Corner (Part 2), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.67 pp.9395, November/December 1995.
30. Foreword to 100 Pawnless Chess Problems (by Arthur Willmott), Privately Published, Adelaide,
Australia, pp.34, February 1996.
31. Chess Problem Corner (Part 3), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.68 pp.6869, February/March 1996.
32. Chess Problem Corner (Part 4), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.69 pp.5659, May/June 1996.
33. Extended Instrumental Techniques (for Woodwinds): lecture paper delivered during the colloquium
Australian Chamber Music (1970), The University of Western Sydney (Kingswood), February 21,
1997.
34. An Undeclared Tribalism in Australian Sonics, Postwest Vol.3 No.2 pp.910, June 1997.
35. Total Fleck Theme in #2 Miniature, The Problemist Vol.16 No.4 pp.170171, July 1997.
36. Black Intelligence, Mat Plus Vol.2 No.16 pp.154155, Winter 1997.
37. More Ideal Fleckery in #2 Miniature, The Problemist Vol.16 No.12 pp.465467, November 1998.
38. On Music Research: lecture paper delivered during a Postgraduate Symposium, School of
Contemporary Arts, The University of Western Sydney (Kingswood), October 12, 1999.
39. Professor Peter Platt, AM (19242000) [Obituary], Australian Music Centre Update No.118 pp.12,
OctoberNovember 2000; reprinted: The Consort: The Journal of the Dolmetsch Foundation Vol.56,
pp.6263, Summer 2000.
40. Tries and their Refutations in the Two-Mover: A Solvers Perspective, The Problemist Vol.17 No.12
pp.503504, November 2000.
41. BCPS [British Chess Problem Society] Tourney Award: Fairies 1995, The Problemist Vol.18 No.2 pp.77
81, March 2001.
42. Trinity College 2003: Descant Recorder Grade Books (Initial to Grade 5), [Review] The Studio:
Quarterly Magazine of the Music Teachers Association of NSW Vol.10 No.1 pp.4546, February
2004.
43. Parallel Strategy: 156 Chess Compositions by Peter Wong, [Book Review] Australian Chess Vol.3 No.3
p.40, May 2005.
44. A Generalised Definition of Ideal [Stale]Mate, The Problemist Vol.25 No.10 pp.400401, July 2016.
45. The Total Combinative Separation Theme in #2 Miniature, The Problemist Vol.26 No.1 pp.810, January
2017.

BOOKS AND MONOGRAPHS

1. Recorder Unlimited: A Preliminary Study of the Alto Recorders Multiphonic Resources, PhD(Prelim.)
Thesis, The University of Sydney, April 1993. To be published eventually by the University of
California Press, Berkeley, California, U.S.A., in The New Instrumentation series.

~ 11 ~
ORIGINAL COMPOSITIONS
The following compositions are all published either by the Australian Music Centre [Sounds Australian] (in facsimile), or
by some other professional Australian publishing house except for those marked *:

1. Piece for Chamber Orchestra (1980). Chamber Orchestra. Duration: c.3. * WITHDRAWN
Private Performance at the University of Sydney.
2. Fanfare for Caissa (1980). 3 Trumpets. Duration: c.4.
Performed by students of the Royal College of Music, London; cond. Sir David Willcocks, Royal
Albert Hall, London, May 1981. Recorded on cassette by the British Chess Problem Society (not
publicly available).
3. SineBirds : Feral Abacus (1981). Tape. Duration: 237.
On Compact Disc: Echoes/Fantasies (Broad Music Records Jade JAD CD 1088), available from the
Australian Music Centre.
4. Legends (1981). Solo Flute. Duration: c.9.
Performed by Joannes Roose, Seventh Australian Flute Convention, April 2, 1988. Cassette recording
(ABC?) of this performance available from the Australian Music Centre [Sounds Australian AMC
002].
5. Entracte (1981). 6 Percussionists. Duration: c.2. * WITHDRAWN
6. Pastels (1982). Solo Clarinet in A. Duration: c.5.
Performed by Lawrence Dobell, Seymour Group Concert, April 28, 1983 [Premire]. On Compact
Disc: The Original Music for a Champagne Breakfast [New Digital Master] (Broad Music Records
Jade JAD CD 1085), available from the Australian Music Centre.
7. Cortge (1982). 1 Alto Trombone, 2 Tenor Trombones, 1 Bass Trombone, 7 Percussionists, Harp, Piano.
Duration: c.4. * WITHDRAWN
8. Cosmos (1982). Solo Piano. Duration: c.3. * WITHDRAWN
9. Echoes (1983). Orchestra. Duration: c.8. * WITHDRAWN
Performed by the ABC National Training Orchestra, cond. Wilfred Lehmann, May 1983 [Premire];
and by the Queensland Symphony Orchestra, cond. David Kram, February 1984. Recorded by the
ABC.
10. Echoes/Fantasies (1984). Bass Clarinet, Percussion: [Vibphn(s)., Tub. Bells]. Duration: c.730.
Commissioned by the Seymour Group. Performed by Nigel Westlake (Bass Cl.) and Michael Askill
(Perc.), ISCM Concert Series, Recording Hall, Sydney Opera House, June 16, 1985. On Compact Discs:
Australian Fanfare (Broad Music Records Jade JAD CD 1070) and Echoes/Fantasies (Broad Music
Records Jade JAD CD 1088), available from the Australian Music Centre.
11. Lament (1985). Solo Tenor Voice. Duration: c.2.
Performed by Philip Chu during the C21 New Music Festival, at The Old Darlington School, the
University of Sydney, August 16, 2001 [Premire].
12. Music for the documentary film God Doesnt Play Dice (1985). *
13. Music for the documentary film Mysteries of the Mind (1986). *
14. Arcturus Timespace (1987). Soloist [Amplified Mandolin, Percussion], Tape, Image & Light projection.
Duration: c.12.
Commissioned by ELISION. Performed by Stephen Morey, ELISION Concert, Melba Hall, The
University of Melbourne, May 6, 1987. On Compact Disc: Solar Dust (Broad Music Records Jade
JAD CD 1080), available from the Australian Music Centre , or from the Fellowship of Australian
Composers.
15. Solar Dust: Orbits and Spirals (1988). Solo (Amplified) Mandolin. Duration: c.10.
Commissioned by Adrian Hooper and The Sydney Mandolins. Performed by Paul Hooper,
Netherlands Uniting Church, Quarry Street, Ultimo, Sydney, September 9, 1988 [Premire]. On
Compact Disc: Solar Dust (Broad Music Records Jade JAD CD 1080) and American Dream (Broad
Music Records Jade JAD CD 1090), available from the Australian Music Centre.
16. Cathys Song (1988). An Encore Piece for Solo Sopranino (or Alto) Recorder. Duration: c.1.
Published: Recorders at Large, Volume Two (ed. Benjamin Thorn), Currency Press, Sydney, 1995.
Performed by Ian Shanahan, Recorders Unlimited, The Old Darlington School, University of
Sydney, December 8, 1989. On Compact Disc: Echoes/Fantasies (Broad Music Records Jade JAD CD
1088), available from the Australian Music Centre.

~ 12 ~
17. Cycles of Vega (19881991). E Clarinet, 2 Percussion. Duration: c.10.
Commissioned by Roslyn Dunlop. Performed by Roslyn Dunlop (Eb Cl.), Daryl Pratt and Anthony
Cowdroy (Perc.), the Second Sydney Spring International Festival of New Music, Sydney Art Gallery,
November 2, 1991 [Premire]. On Compact Disc: Shoalhaven Suite (Broad Music Records Jade JAD
CD 1087), available from the Australian Music Centre.
18. Gahu (1989). For Young Musicians. Tape or 8 Percussion/Orff Schulwerk. Duration: c.10. * WITHDRAWN
19. Helical Ribbon (1990). A Terse tude for Solo Alto Recorder. Duration: c.040.
Published: Recorders at Large, Volume Two (ed. Benjamin Thorn), Currency Press, Sydney, 1995.
Commissioned by the Australian Music Centre. Performed by Ian Shanahan, Sounds Australian
Awards Presentation Night, Sydney Dance Company Space, Sydney, April 11, 1990 [Premire]. On
Compact Disc: Echoes/Fantasies (Broad Music Records Jade JAD CD 1088), available from the
Australian Music Centre.
20. Dysfunctional Habaera (1990). Solo Alto Recorder. Duration: c.030.
To be published by Red House Editions? Commissioned by Benjamin Thorn. Unperformed! On
Compact Disc: Echoes/Fantasies (Broad Music Records Jade JAD CD 1088), available from the
Australian Music Centre.
21. Graeme Petrie, scallywag (1990). Solo Alto Recorder. Duration: c.045.
To be published by Red House Editions? Commissioned by Benjamin Thorn. Unperformed! On
Compact Disc: Echoes/Fantasies (Broad Music Records Jade JAD CD 1088), available from the
Australian Music Centre.
22. Lingua Silens Florum (1991). A Garland for Solo Prepared Alto Recorder. Duration: c.050.
Published: Red House Editions No. RH 938, Melbourne, 1995. Performed by Ian Shanahan, Eric Gross
Farewell Concert, Everest Theatre, University of Sydney, August 8, 1991 [Premire]. On Compact
Disc: Echoes/Fantasies (Broad Music Records Jade JAD CD 1088), available from the Australian
Music Centre.
23. Ritual Canons (1982/1993). 3 Tenor Trombones, 1 Bass Trombone. Duration: c.4.
Published: Portraits: Music for Brass Ensemble, Red House Editions No. RH 949, Melbourne, 2004.
Unperformed!

24. Microcosm (1991/1993). E Clarinet, 2 Percussion, Contrabass. Duration: c.115. *


WITHDRAWN
Commissioned by austraLYSIS. Preliminary version performed by Peter Jenkin (Eb Cl.), Daryl Pratt
(Perc.) and Roger Dean (CB.), Joseph Post Auditorium, Sydney Conservatorium of Music, July 9, 1991.

25. Lines of Light: Seven Improvisations on (1991/1993). (Amplified) Recorders [1 player],


Yamaha DX7 Keyboard Synthesizer(s) [1 player], Percussion. Duration: c.930.
Commissioned by austraLYSIS. Performed by Ian Shanahan (Recs.), Roger Dean (2 Yamaha DX7
Keyboard Synths.) and Daryl Pratt (Perc.), Joseph Post Auditorium, Sydney Conservatorium of Music,
November 27, 1993 [Premire]. On Compact Disc: Lines of Light (Broad Music Records Jade JAD
CD 1091), available from the Australian Music Centre.
26. Arc of Light (1993). Solo Piano. Duration c.2154.
Published: Grevillea Editions (The Yitpi Series [ISBN 1876266546]), Maybole via Ben Lomond
NSW, September 1997. Commissioned by Robert Allworth. Performed by Simon Docking, The Old
Darlington School, University of Sydney, August 14, 1994 [Premire]. On Compact Discs: Australian
Music for Film: Remembering Adrian Braun (Broad Music Records Jade JAD CD 1073) and Lines of
Light (Broad Music Records Jade JAD CD 1091), available from the Australian Music Centre.
27. 153 Infinities (1996). Solo (Amplified) Piano and optional Percussion [6 players]. Duration c.11.
Commissioned by Roger Woodward and the Sydney Spring International Festival of New Music.
Performed by Tamara Anna Cislowska (Piano) and the Sprung Percussion Ensemble (Guy du Blt,
Claire Edwardes, Richard Gleeson, Kevin Man, Luke McAvenna, Timothy Paillas) during the Eighth
Sydney Spring International Festival of New Music, Eugene Goossens Hall, ABC Centre, Harris
Street, Ultimo, Sydney, September 12, 1997 [Premire]; Solo Piano version (without Percussion)
premired by Zubin Kanga (Piano) at the Great Hall, the University of Sydney, April 2, 2003. Version
with Percussion on Compact Disc: Solar Dust (Broad Music Records Jade JAD CD 1080); Solo Piano
version on Compact Disc: Morning By An Ocean (Broad Music Records Jade JAD CD 1100); both
available from the Australian Music Centre.
28. Zodiac: Crystal Orbit Improvisations (1996). Amplified Soprano Recorder, MIDI Wind Instrument (e.g.
Yamaha WX11) and Keyboard Synthesizer (e.g. Yamaha DX7) under optional Real-time Interactive
Computer Control (e.g. MAX software). Duration: variable.
Commissioned by austraLYSIS. Performed by Ian Shanahan (Soprano Rec.), Sandy Evans (Yamaha
WX11), Roger Dean (Yamaha DX7 Keyboard Synth.) and MAX, The Performance Space, 199
Cleveland Street, Redfern, Sydney, July 20, 1996 [Premire].

~ 13 ~
29. [p]s(t)ellor/mnme (1997). A mandalikon for Soprano Recorder and a Broken Consort of Early-Music
Instruments (Alto Rebec, 3 Bass Viola da Gambas, Mandola, Celtic Harp, 16 Handbells [2 players], 3
Percussion [Finger Cymbals, Small Clash Cymbals, Waterphone] and Timekeeper). Duration c.810.
Commissioned by Winsome Evans and The Renaissance Players (for The Renaissance Players
thirtieth anniversary). Performed by Ian Shanahan (Soprano Rec.) and The Renaissance Players (Nick
Wales, Eleanor Lewis, Cathy Tabrett, Jenny Ericksson, Kim Poole, Winsome Evans, Andrew Lambkin,
Sally Treloyn, Barbara Stackpool, Tim Chung, Simon Lobelson) during the Eighth Sydney Spring
International Festival of New Music, Eugene Goossens Hall, ABC Centre, Harris Street, Ultimo,
Sydney, September 19, 1997 [Premire, with live national broadcast].
30. Cosmos (One Note) (1987/1997). Solo Yamaha DX7 Keyboard Synthesizer. Duration: c.6.
Performed by Ian Shanahan, The Performance Space, Music Department, University of Western
Sydney (Kingswood), Kingswood Campus, November 13, 1997 [Premire].
31. Dimensiones Paradisi (1991/1998). Solo Alto Flute. Duration c.9.
Commissioned by Laura Chislett. Performed by Kathleen Gallagher during the Ninth Sydney Spring
International Festival of New Music, Eugene Goossens Hall, ABC Centre, Harris Street, Ultimo,
Sydney, September 26, 1998 [Premire]. {A facsimile of the manuscript of an earlier version, for solo
piccolo, was published in Context No.2 pp.3843, Summer 1991.}
32. Harmonia (2000). 2 Flutes, Bassoon, French Horn. Duration: c.415. * WITHDRAWN
33. Harmonia {in PP} (2001) Tenor Recorder and Piano. Duration: c.4455.50.
Performed by Ian Shanahan (tenor recorder) and Diana Blom (piano) during the Peter Platt Memorial
and Dedication Concert held at The Old Darlington School, the University of Sydney, August 15, 2001
[Premire].
34. Babel-18: An Ordeal by Labyrinth (2004: Forthcoming). 114 Violins. Duration c.4.
Commissioned by Matthew Hindson. To be published by Faber?
35. Gate of Remembrance: 12 Hypostases (1993). Solo (Amplified) Piano; Solo (Amplified) Piano and
Orchestra. Duration c.23.
Commissioned by Roger Woodward. To be premired by Roger Woodward.
36. Radiance (2014). 4 Trumpets, 4 Horns, 4 Trombones, (Contra)bass Tuba. Duration unknown as yet.
Not commissioned.

37. Ouranometria (2014). Solo (Amplified) Bass Clarinet. Duration unknown as yet.
Not commissioned; but performers from the U.S.A. and U.K. are interested.

~ 14 ~
DISCOGRAPHY
1. Compact Disc: Music from St Michaels, Vaucluse, Sydney and St Andrews Cathedral, Sydney.
Evasound Records Jade JADCD1012.
Robert Allworth: How Many Sunsets Will I See?
Ian Shanahan (Alto Rec.) and Paul Hooper (Mand.).
Released in Australia, April 1990.

2. Compact Disc: Earth Spirit. Evasound Records Jade JADE1013.


Ian Shanahan: Solar Dust: Orbits and Spirals
Paul Hooper (Mand.).
Ian Shanahan: Echoes/Fantasies
Nigel Westlake (Bass Clar.) and Michael Askill (Perc.).
Released in Australia, August 1990.

3. Compact Disc: Times Remembered. Evasound Records Jade JADCD1022.


Ian Shanahan: Cathys Song
Ian Shanahan (Sopranino Rec.).
Ian Shanahan: Helical Ribbon
Ian Shanahan (Alto Rec.).
Released in Australia, June 1991.

4. Compact Disc: Ossia (Volume 1). Evasound Records Jade JADCD1024.


Ian Shanahan: Arcturus Timespace
Stephen Morey (Mand., Perc.).
Released in Australia, April 1992.

5. Compact Disc: Splendour of the Past. Evasound Records Jade JADCD1025.


Ian Shanahan: Lingua Silens Florum
Ian Shanahan (Prepared Alto Rec.).
Released in Australia, April 1992.

6. Compact Disc: River Songs. Evasound Records Jade JADCD1026.


Robert Allworth: Two Bagatelles
Ian Shanahan (Soprano Rec.).
Released in Australia, June 1992.

7. Compact Disc: Where no Shadows Fall. Evasound Records Jade JADCD1031.


Peter Sculthorpe: A Sun Song for Eric
Ian Shanahan (Alto Rec.); Dominique Guerbois (Vln.) and Susan Blake (Vlc.).
Released in Australia, November 1992.

8. Compact Disc: Concerto. Evasound Records Jade JADCD1038.


Robert Allworth: 2 Bagatelles
Ian Shanahan (Soprano Rec.).
Released in Australia, May 1993.

9. Compact Disc: Music for a Champagne Breakfast. Evasound Records Jade JADCD1040.
Ian Shanahan: Pastels
Roslyn Dunlop (Clar. in A).
Released in Australia, August 1993.

~ 15 ~
10. Compact Disc: Barely Spring. Broad Music Records Jade JAD CD 1045.
Robert Allworth: A Meditation of Saint Clare
Ian Shanahan (Tenor Rec.).
Released in Australia, March 1994.

11. Compact Disc: Music for a Festive Occasion. Broad Music Records Jade JAD CD 1048.
Ian Shanahan: Cycles of Vega
Roslyn Dunlop (E Clar.); Daryl Pratt and Anthony Cowdroy (Perc.).
Released in Australia, April 1994.

12. Compact Disc: Arc of Light. Broad Music Records Jade JAD CD 1050.
Ian Shanahan: Arc of Light
Simon Docking (Piano).
Ian Shanahan: Cathys Song
Ian Shanahan (Sopranino Rec.).
Ian Shanahan: Lingua Silens Florum
Ian Shanahan (Prepared Alto Rec.).
Ian Shanahan: Helical Ribbon
Ian Shanahan (Alto Rec.).
Elliott Gyger: Strands II Miniature Variations
Ian Shanahan (Bass Rec.); Jane Lewis (Fl./Picc.); Ingrid Pearson (Clar.); Dominique Guerbois (Vln.);
Susan Blake (Vlc.); Winsome Evans (Harpsichord) and Simon Docking (Piano).
Released in Australia, November 1994.

13. Compact Disc: Skinless Kiss of Angels. ABC Classics ABC4466252.


Michael Smetanin: Spin
Ian Shanahan (Amplified Bass Rec.) and Stephanie McCallum (Amplified Harpsichord).
Released in Australia and internationally through ABC Classics and Polygram, May 1995.

14. Compact Disc: Phoenix Songs. Move Records MOVE MD3165.


Ian Shanahan: Cathys Song
Genevieve Lacey (Sopranino Rec.).
Ian Shanahan: Lingua Silens Florum
Genevieve Lacey (Prepared Alto Rec.).
Ian Shanahan: Helical Ribbon
Genevieve Lacey (Alto Rec.).
Released in Australia through Move Records, June 1995.

15. Compact Disc: Artisans of Australia. Broad Music Records Jade JAD CD 1054.
Ian Shanahan: Cathys Song
Ian Shanahan (Sopranino Rec.).
Ian Shanahan: Helical Ribbon
Ian Shanahan (Alto Rec.).
Released in Australia, July 1995.

16. Compact Disc: The Listening Room: Delta. ABC Music 4797612.
Jonathan Mills: Four Songs
Ian Shanahan (Recs.); Geoffrey Collins (Fl.); Nigel Westlake (Bass Clar.); James Blunt (Tpt.); Graeme
Leak (Perc.); Catherine Hewgill (Vlc.); Jacqui Rutten and Jonathan Mills (Voices).
Released in Australia and internationally through ABC Classics and Polygram, July 1995.

17. Compact Disc: Best of Australian Classics. Broad Music Records Jade JAD CD 1065.
Bruce Cale: Cullenbenbong
Ian Shanahan (Bass Rec., 7 Japanese Temple Bells [Rin]).
Released in Australia, November 1996.

~ 16 ~
18. Compact Disc: Australian Fanfare. Broad Music Records Jade JAD CD 1070.
Ian Shanahan: Solar Dust: Orbits and Spirals
Paul Hooper (Mand.).
Ian Shanahan: Echoes/Fantasies
Nigel Westlake (Bass Clar.) and Michael Askill (Perc.).
Released in Australia, July 1997.

19. Enhanced Compact Disc: Great is Your Love: Songs from St Pauls Castle Hill. Yes! Ministries YMCD001.
Chris Griffiths: Lifted Me Up (Psalm 40).
Nicole Schleicher: Awesome and Great.
Chris Timperley: Jesus is Alive.
Trevor Hodge: Not Worthy.
Trevor Hodge: Psalm 100.
All songs: Ian Shanahan (Tbn.); Michael Petrulis (Tpt.); Elizabeth Corey (Alto Sax.); Anthony Bock
(Tenor Sax.); Dionne Bock (Fl./Picc.); Murray Blythe (Guits.); Trevor Hodge (Bass Guit., Vocals); Ben
Drew (Piano, Vocals); David Sheerman (Synth.); Tim Jarrett (Drums); David Atkins (Perc.); Skye
Watson (Vln.); Jennie Cooper and Tim Willson (Vlc.); Diana Blythe, Chris Griffiths, Peter Langshaw,
Nicole Schleicher, Catherine Beaumont and Jennifer Herbert (Vocals).
Released in Australia, November 1997.

20. Compact Disc: Australian Music for Film: Remembering Adrian Braun. Broad Music Records Jade JAD
CD 1073.
Ian Shanahan: Arc of Light
Simon Docking (Piano).
Released in Australia, November 1997.

21. Compact Disc: Solar Dust. Broad Music Records Jade JAD CD 1080.
Ian Shanahan: Arcturus Timespace
Stephen Morey (Mand., Perc.).
Ian Shanahan: Solar Dust: Orbits and Spirals
Paul Hooper (Mand.).
Ian Shanahan: 153 Infinities
Tamara Anna Cislowska (Piano) and the Sprung Percussion Ensemble (6 Perc.).
Gary Monger: Gecko
Ian Shanahan (Soprano Rec.).
Released in Australia, November 1998.

22. Compact Disc: The Original Music for a Champagne Breakfast [New Digital Master]. Broad Music
Records Jade JAD CD 1085.
Ian Shanahan: Pastels
Roslyn Dunlop (Clar. in A).
Released in Australia, July 1999.

23. Compact Disc: Fray. Broad Music Records Jade JAD CD 1086.
Ian Shanahan: Helical Ribbon
Ian Shanahan (Alto Rec.).
Ian Shanahan: Lingua Silens Florum
Ian Shanahan (Prepared Alto Rec.).
Ian Shanahan: Cathys Song
Ian Shanahan (Sopranino Rec.).
Ian Shanahan: Dysfunctional Habaera
Ian Shanahan (Alto Rec.).
Ian Shanahan: Graeme Petrie, scallywag
Ian Shanahan (Alto Rec.).
Released in Australia, July 1999.

~ 17 ~
24. Compact Disc: Shoalhaven Suite. Broad Music Records Jade JAD CD 1087.
Ian Shanahan: Cycles of Vega
Roslyn Dunlop (E Clar.); Daryl Pratt and Anthony Cowdroy (Perc.).
Released in Australia, December 1999.

25. Compact Disc: Echoes/Fantasies. Broad Music Records Jade JAD CD 1088.
Ian Shanahan: Echoes/Fantasies
Nigel Westlake (Bass Clar.) and Michael Askill (Perc.).
Ian Shanahan: SineBirds : Feral Abacus
Ian Shanahan: Helical Ribbon
Ian Shanahan (Alto Rec.).
Ian Shanahan: Lingua Silens Florum
Ian Shanahan (Prepared Alto Rec.).
Ian Shanahan: Cathys Song
Ian Shanahan (Sopranino Rec.).
Ian Shanahan: Dysfunctional Habaera
Ian Shanahan (Alto Rec.).
Ian Shanahan: Graeme Petrie, scallywag
Ian Shanahan (Alto Rec.).
Released in Australia, March 2000.

26. Compact Disc: The Sinking of the Rainbow Warrior. Vox Australis VAST0282.
Colin Bright: The Sinking of the Rainbow Warrior
Ian Shanahan (Sopranino, Soprano, Alto, Tenor and Bass Recs.); Margery Smith (Clar., Bass Clar.);
Daryl Pratt (Perc.); Roger Dean and Stephanie McCallum (Synths.); Elizabeth Jones (Vln.); Maxim
Bibeau (CB, Bass Guit.); Ruth Kilpatrick (Sop.); Nicole Thomson (Sop.); Jo Burton (Alto); Paul
McMahon (Ten.); Mark Donnelly (Bar.); Clive Birch (Bass).
Released in Australia by the Australian Music Centre, August 2000.

27. Compact Disc: Hammock Blues. Jude Handel Records JH001.


Jude Handel: Hammock Blues
Ian Shanahan (Soprano, Tenor and Bass Recs.); Ian Pritchett (Sitar); Jude Handel (Vocals, Piano).
Released in Australia, August 2000.

28. Compact Disc: Dulcie Holland and Friends. Broad Music Records Jade JAD CD 1089.
Ian Shanahan: Dysfunctional Habaera
Ian Shanahan (Alto Rec.).
Released in Australia, October 2000.

29. Compact Disc: American Dream. Broad Music Records Jade JAD CD 1090.
Ian Shanahan: Solar Dust: Orbits and Spirals
Michael Hooper (Mand.).
Released in Australia, February 2001.

30. Compact Disc: Lines of Light. Broad Music Records Jade JAD CD 1091.
Ian Shanahan: Lines of Light: Seven Improvisations on
Ian Shanahan (amplified recorders); Roger Dean (two Yamaha DX7 keyboard synthesizers); and
Daryl Pratt (percussion).
Ian Shanahan: Arc of Light
Roger Dean (Piano).
Released in Australia, August 2001.

31. Compact Disc: Auburn Splendour, Broad Music Records Jade JADCD1092.
Ian Shanahan: Harmonia {in PP}
Ian Shanahan (Tenor Rec.) and Andrew Robbie (Piano).

~ 18 ~
Ian Shanahan: Zodiac: Crystal Orbit Improvisations
Ian Shanahan (Amplified Soprano Rec.); Sandy Evans (Yamaha WX11 MIDI wind instrument
controlling a Yamaha DX7 Series I keyboard synthesizer); Roger Dean (Yamaha DX7 Series II
keyboard synthesizer); and MAX software.
Released in Australia, December 2001.

32. Compact Disc: There came a wind like a bugle: chamber music by Nigel Butterley, Tall Poppies Records
TP142.
Nigel Butterley: The White-Throated Warbler
Ian Shanahan (Sopranino Rec.) and Diana Blom (Harpsichord).
Released in Australia and internationally, December 2001.

33. Compact Disc: Morning By An Ocean, Broad Music Records Jade JADCD1100.
Ian Shanahan: 153 Infinities
Zubin Kanga (Piano).
Released in Australia, December 2003.

34. Compact Disc: Harmonia, Sidereal Records SRCD01.


Ian Shanahan: Cathys Song
Ian Shanahan (Sopranino Rec.).
Ian Shanahan: Harmonia {in PP}
Ian Shanahan (Tenor Rec.) and Andrew Robbie (Piano).
Ian Shanahan: Lines of Light: Seven Improvisations on
Ian Shanahan (amplified recorders); Roger Dean (two Yamaha DX7 keyboard synthesizers); and
Daryl Pratt (percussion).
Ian Shanahan: Lingua Silens Florum
Ian Shanahan (Prepared Alto Rec.).
Ian Shanahan: Zodiac: Crystal Orbit Improvisations
Ian Shanahan (Amplified Soprano Rec.); Sandy Evans (Yamaha WX11 MIDI wind instrument
controlling a Yamaha DX7 Series I keyboard synthesizer); Roger Dean (Yamaha DX7 Series II
keyboard synthesizer); and MAX software.
Robert Allworth: A Meditation of Saint Clare
Ian Shanahan (Tenor Rec.).
Robert Allworth: How Many Sunsets Will I See?
Ian Shanahan (Alto Rec.) and Paul Hooper (Mand.).
Robert Allworth: Two Bagatelles
Ian Shanahan (Soprano Rec.).
Colin Bright: Let the Storm Break Loose!
Ian Shanahan (Sopranino, Soprano, Alto, Tenor and Bass Recs.).
Bruce Cale: Cullenbenbong
Ian Shanahan (Bass Rec., 7 Japanese Temple Bells [Rin]).
Eric Gross: Ians Shenanigan No.1
Ian Shanahan (Alto Rec.).
Michael Lonsdale: all gone thus... [an encore for Ian]
Ian Shanahan (Prepared Alto Rec.).
Michael Lonsdale: Thieving Minutes
Ian Shanahan (Soprano Rec.).
Jane Stanley: Spindrift / Interiors
Ian Shanahan (Soprano, Alto, Tenor and Bass Recs.) and Paul Hooper (Mand.).
Executive Producer and Booklet Compiler Ian Shanahan. Released in Australia, January 2005.

35. Compact Disc: Arc of Light, Wayfarer Records?


Ian Shanahan: Arc of Light
Aaron McMillan (Piano).
Forthcoming (late 2004?).

~ 19 ~
36. Compact Disc: Sunrise: The Acousmatic Music of Ian Fredericks, Sidereal Records SRCD02 [Double CD].
Ian Fredericks: Sunrise
Ian Fredericks: Violins in Space
Ian Fredericks: Mother Piece
Ian Fredericks: Spirals
Ian Fredericks: Nine Knights
Ian Fredericks: Talisman [A mere fragment]
Ian Fredericks: Death of a Dragon
Ian Fredericks: Maze of Glass
Ian Fredericks: Lament for the Dragon
Ian Fredericks: Avalon [Section 2]
Ian Fredericks: Viable Alternative
Ian Fredericks: Some Quiet Graveyard
Ian Fredericks: Requiem for a Planet
Ian Fredericks: StarMist
Executive Producer and Booklet Compiler Ian Shanahan Released in Australia, August 2016.

~ 20 ~
HOBBIES & INTERESTS
Chess problem composition; theology; mathematics and sacred geometry, astronomy and cosmology, physics
(chaos theory, astrophysics ...), esoteric sciences; philosophy; history; metaphysics; sport: walking, fishing.

~ 21 ~
BIBLIOGRAPHY
ARTICLES AND REVIEWS

AINGER, SUSAN: Trip to Japan for exceptional player, The University of Sydney News Vol.19 No.22 p.181,
September 1, 1987.
AINGER, SUSAN: Young composer ranked with established musicians, The University of Sydney News
Vol.22 No.34 p.275, October 16, 1990.
ANON.: Composers Forum, AMC News: Australia Music Centre Newsletter No.9 pp.810, Spring 1985.
ANON.: Contributions to 900 year celebrations, The University of Sydney News Vol.20 No.6 p.49, April 12,
1988.
ANON.: Forum: Innovation, Accessibility and the Audience, Sounds Australian: Journal of Australian
Music No.36 pp.1336, Summer 1992.
ANON.: Ians shenanigans, The University of Sydney News Vol.20 No.9 p.74, May 3, 1988.
ANON.: La Frederick May Foundation allarga il suo raggio dazione a Melbourne e a Bologna, La Fiamma
p.29, April 14, 1988.
ANON.: Style Wars II: The Discussion, Sounds Australian: Journal of Australian Music No.29 pp.513 &
p.20, Autumn 1991.
BEILHARZ, KIRSTY A.: Observing Musical Composition as a Design Grammar, Conference Proceeding(?)-
Article downloaded from the Internet as a PDF file, n.d. (2000?).
BLANKS, FRED: Concert Review: Pianist hits and runs, The Sydney Morning Herald p.25, August 16, 1994.
BLANKS, FRED: Concert Review: Recital not just for contemporary, The Sydney Morning Herald June 19,
1985.
BROWN, PATRICIA: Concert Review: Concert begs the question: Where are the angry young men of
yesteryear?, The Sydney Morning Herald August 1, 1981.
CARMODY, JOHN: Concert Review: A Rite of many passages, The Sun-Herald December 5, 1993.
CARMODY, JOHN: Concert Review: A satisfying series of recorder solos, The Sun-Herald p.115, June 14,
1992.
COVELL, ROGER: Concert Review: A new slant on creating music for modern life, The Sydney Morning
Herald p.19, November 29, 1993.
COVELL, ROGER: Record Review: Animal angels and invention, The Sydney Morning Herald p.13s, July 3,
1995.
COVELL, ROGER: Concert Review: Extravaganza of sound and dance, The Sydney Morning Herald p.19,
February 21, 1994.
COVELL, ROGER: Concert Review: New musics welcome addition, The Sydney Morning Herald May 2,
1987.
COVELL, ROGER: Concert Review: Young composers present works of energy, variety, The Sydney Morning
Herald p.8, February 21, 1983.
CREWS, RITA: Reviews: CD: American Dream, The Studio: Quarterly Magazine of the Music Teachers
Association of NSW Vol.7 No.1 pp.6667, February 2001.
CREWS, RITA: Reviews: CD: Dulcie Holland and Friends, The Studio: Quarterly Magazine of the Music
Teachers Association of NSW Vol.7 No.1 pp.6465, February 2001.
CREWS, RITA: Sneak Preview: Shoalhaven Suite, The Studio: Quarterly Magazine of the Music Teachers
Association of NSW Vol.6 No.1 pp.4748, February 2000.
DEAN, ROGER & SMITH, HAZEL: The evolving technology of performance in the work of AustraLYSIS, and
the politics of co-operativity, Sounds Australian: Journal of the Australian Music Centre No.65
pp.1621, 2005.
DENCH, CHRIS: Metalogue, Sounds Australian: Journal of Australian Music No.29 pp.1720, Autumn 1991.
FORD, ANDREW: Record Review: Classical Reviews, 24 Hours p.14, October 1992.

~ 22 ~
FORD, ANDREW: Record Review: Classical Reviews, 24 Hours pp.2021, July 1995.
GUILLIATT, RICHARD: The art of being PC, The Sydney Morning Herald Spectrum p.15, September 30,
1995.
HOOPER, ADRIAN: Sydney Mandolins, Sounds Australian: Journal of the Australian Music Centre No.65
p.57, 2005.
HUBBLE, AVA: Parting shots from Shanahan, The Sydney Morning Herald p.14, October 29, 1992.
KELLY, PATRICIA: Record Review: Music for a Festive Occasion, Perform p.15, February 1995.
KERRY, GORDON: Concert Review: Carving sound with maths and wobble boards, The Sydney Morning
Herald p.14, September 15, 1997.
KERRY, GORDON: Concert Review: Program scores well with melodies, The Sydney Morning Herald p.13,
September 28, 1998.
KINNEY, MOLLY C.: Working With Tradition, U.S.China Arts Exchange: Newsletter of the Center for
U.S.China Arts Exchange at Columbia University Vol.10 pp.23, Spring 1992.
KROSLAKOVA, KATARINA: Percussion strikes a new note, 2MBS-FM Program Guide Vol.26 No.2 pp.1112,
February 2000.
LIPTON, MICHAEL: Some [Chess] Problems by Ian Shanahan, The Problemist Vol.26 No.4 pp.134136, July
2017.
LOOMES, BENJAMIN: Aspects of Ian Shanahan, 2MBS-FM Program Guide Vol.23 No.8 p.8, August 1997.
MARAL, LOUISE: In memoriam: music for and by a loved Prof, The University of Sydney News Vol.33
No.12 p.7, July 27, 2001.
MARKS, BEN: Music Review: Portraits: Music for Brass Ensemble, Sounds Australian: Journal of the
Australian Music Centre No.64 pp.5556, 2004.
MCCALLUM, PETER: Record Review: Ossia Australian Composers (Volume 1), Sounds Australian: Journal
of Australian Music No.34 pp.4445, Winter 1992.
MCCALLUM, PETER: Concert Review: Australia Live Sydney Spring Festival: Second Week, Sounds
Australian: Journal of Australian Music No.32 pp.5657, Summer 1991.
MCCALLUM, PETER: Concert Review: Energetic explorations, The Sydney Morning Herald June 11, 1992.
MCCALLUM, PETER: How complex is complexity?, The Sydney Morning Herald p.14, February 13, 1992.
MCCALLUM, PETER: Concert Review: Remarkable recital kicks off 2nd week of festival, The Sydney
Morning Herald p.16, November 4, 1991.
MCCALLUM, PETER: Concert Review: Sounds like ... anorexia, The Sydney Morning Herald June 27, 1987.
MCCALLUM, PETER: Concert Review: Symeron, The Sydney Morning Herald p.18, November 13, 1991.
MCCALLUM, PETER: Concert Review: The ether and beyond, The Sydney Morning Herald August 24, 1987.
MCCALLUM, PETER: Concert Review: Thorn needs to put on a little more weight, The Sydney Morning
Herald December 14, 1989.
NETTHEIM, DAWN: Ian Shanahan: The Metamorphosis of the Recorder, Sydney Music Diary No.52 p.21,
September 1988.
OCONNELL, CLIVE: Concert Review: Elisions fervor [sic] and sensitivity, The Age May 8, 1987.
PLATT, PETER: Record Review: Times Remembered, Sounds Australian: Journal of Australian Music No.33
pp.5152, Autumn 1992.
POTTS, JOHN: Forces and spirits: 20th century music, RealTime No.33 p.33, OctoberNovember 1999.
ROBERTSON, MURRAY: Ninth Sydney Spring (An Overview), and the Marienberg Awards, Bravo! Review
Vol.1 No.3 p.13, October 1998.
ROBINSON, STEPHEN: Record Review: Phoenix Songs, Australias Journal of Recorder and Early Music
No.19 pp.2627, August 1995.
RT [RICHARD TOOP?] [sic]: Music with the stars, RealTime No.41 p.32, FebruaryMarch 2001.
SELLECK, JOHANNA: Record Review: Solar Dust: Music of Australian Composers, Australian Music Teacher
Magazine Vol.7 No.5 pp.6667, JanuaryFebruary 2000.

~ 23 ~
SILSBURY, ELIZABETH: Record Review: Earth Spirit, Sounds Australian: Journal of Australian Music No.28
pp.3839, Summer 1990.
STRACHAN, LAURIE: Record Review: Compact Discs, The Weekend Australian p.12, July 2223, 1995.
SYKES, JILL: Concert Review: A week of contrasts, The Sun-Herald May 1, 1983.
SYKES, JILL: Concert Review: Practice puts the heat on composers, The Sun-Herald February 20, 1983.
SYKES, JILL: Concert Review: Sykes on Sunday, The Sun-Herald June 23, 1985.
ED. THORN, BENJAMIN: Virtuosity, Sounds Australian: Australian Music Centre Journal No.20 pp.1529,
Summer 1988.
TOOP, RICHARD: Concert Review: Producing a show, The Sydney Review pp.1011, March 1993.
VALLENTINE, ANDREW: Culture Vulture Andrew Vallentine interviews Genevieve Lacey, 24 Hours p.110,
July 2001.
WELCH, JOHN: Scoring for the future, Sounds Australian: Journal of the Australian Music Centre No.57
pp.3031, 2001.

BOOKS AND MONOGRAPHS

BEAUMONT, CATHERINE A.: Ian Shanahan: A Glimpse into his World-View and Music through An
Analysis of Cycles of Vega, BMus(Hons) Research Paper, Department of Music, The University of
Sydney, November 1993.
ED. BEBBINGTON, WARREN: The Oxford Companion to Australian Music, Oxford University Press,
Melbourne, Australia, 1997.
ED. BROADSTOCK, BRENTON: Sound Ideas: Australian Composers born since 1950 A Guide to their Music
and Ideas, Australian Music Centre, Sydney, Australia, 1995.
BROINOWSKI, ALISON: The Yellow Lady: Australian Impressions of Asia, Oxford University Press,
Melbourne, Australia, 1992.
DAVIS, MARK: Gangland: Cultural Elites and the New Generationalism, Allen and Unwin, Sydney,
Australia, 1997.
FORD, ANDREW: Undue Noise: Words about Music, ABC Books, Sydney, Australia, 2002.
LOOMES, BENJAMIN R.: Gematria and Sacred Geometry in Lines of Light by Ian Shanahan, BMus(Hons)
Research Paper, Department of Music, The University of Sydney, July 1996.
ED. MACARTHUR, SALLY: The Composer Speaks III: Proceedings of the New Music Australia Conference
1992, Sounds Australian, Sydney, Australia, 1998.
OKELLY, EVE: The Recorder Today, Cambridge University Press, Cambridge, England, 1990.
ED. ROWLEY, CAITLIN: Australia: Exploring the Musical Landscape, Australian Music Centre, Sydney,
Australia, 1998.
ED. SKINNER, GRAEME: The Composer Speaks: Composers and Their Colleagues Discuss Australian Music,
Sounds Australian, Sydney, Australia, 1991.
ED. SKINNER, GRAEME and ROWLEY, CAITLIN: The Composer Speaks II: Proceedings of the Australian New
Music Conference 1990, Sounds Australian, Sydney, Australia, 1998.
SMITH, ROGER: Timbre as Acoustic Parameter in the Recorder Part of Ian Shanahans Lines of Light (1991 &
1993), Unpublished Paper, England, 2013.
WOODWARD, ROGER: Beyond Black and White my life in music, ABC Books (HarperCollinsPublishers),
Sydney, Australia, 2014.

~ 24 ~
WRITINGS BY IAN SHANAHAN
JOURNAL ARTICLES, LECTURE PAPERS, REPORTS, LETTERS, AND UNPUBLISHED MATERIAL

1. Analysis of Echoes/Fantasies (1984) for bass clarinet, vibraphone(s) and tubular bells, Unpublished
Analytical Writing, Sydney, Australia, October 1985.
2. 31 Note Music by Bill Coates: Fingerings for Alto Recorder, Unpublished Information Sheet, Sydney,
Australia, February 1986.
3. A Basic Circe Variant: Strict Circe, The Problemist Vol.12 No.10 p.194, July 1986.
4. Recorder Unlimited: An Introduction with special consideration of Multiple Sonorities: lecture paper
delivered to the Sydney Branch of The Musicological Society of Australia, The University of Sydney,
August 2, 1986.
5. Recent Australian Music: Australian Country Report to The 11th Asian Composers League
Conference, Taipei, Taiwan, October 1986.
6. ELISION ... The Cutting Edge of Sound, The Australian Composer: Newsletter of the Fellowship of
Australian Composers p.3, August 1987.
7. The Eleventh Asian Composers League Conference/Festival, The Australian Composer: Newsletter of
the Fellowship of Australian Composers pp.45, August 1987.
8. Conference Paper: Seminar C (Contemporary Recorder Techniques), Asian Composers Forum in Sendai,
Japan, September 19, 1987.
9. Sounds Unlimited, 1988 Blue Mountains Festival Performing Notes, The Blue Mountains Festival Ltd.,
Darlinghurst NSW, Australia, pp.1215, 1988.
10. Success Stories, The Australian Composer: Newsletter of the Fellowship of Australian Composers p.7,
December 1988.
11. Recent Travels, The Australian Composer: Newsletter of the Fellowship of Australian Composers
pp.78, December 1988.
12. The Theory of Bitones, Ossia No.1 pp.1723, Winter 1989.
13. Letter to the Editor captioned: APC Headache (No.2), Sounds Australian: Journal of Australian Music
No.23 pp.12, Spring 1989.
14. Brief [heavily edited] analyses of compositions by Eric Gross (3 Klavierstcke) and Peter Tahourdin (Quartet
for Strings) in the Handbook accompanying the Anthology of Australian Music on Disc, Canberra
School of Music, December 1989.
15. Australian Music During 1989: Australian Country Report to The 13th Asian Composers League
Conference/Festival, Tokyo/Sendai, Japan, March 1990.
16. Manifesto, Unpublished Writing, Sydney, Australia, October 1990.
17. Audibility and Inaudibility in Twentieth-Century Music: Arcturus Timespace (1987), by Ian Shanahan,
Unpublished Writing, Sydney, Australia, November 1990.
18. Ideal Circe Serieshelpstalemates with KBS versus K, Ideal-Mate Review No.40 p.15, AprilJune 1991.
19. Modern Mandolin Notation, Federation of Australasian Mandolin Ensembles Newsletter Vol. 13
No.2, May 1991.
20. Blueprint for a Piece: Ian Shanahans Sure-Fire Recipe for Music comprised of Fractal Sounds generated
by a Prepared Alto Recorder, Unpublished Information Sheet, Sydney, Australia, May 22, 1991.
21. Multicultural Influences on Australian Composition, in The Composer Speaks: Composers and Their
Colleagues Discuss Australian Music (ed. Graeme Skinner), Sounds Australian, Sydney, Australia,
pp.3235, June 1991.
22. Recorders Now and Then, [Review] The Recorder: Journal of the Victorian Recorder Guild No.13
pp.2324, June 1991.
23. Letter to the Editor captioned: When is Humour Humorous?, Sounds Australian: Journal of Australian
Music No.31 p.3, Spring 1991.
24. The Malaise of (not just) Australian Music, Context No.2 pp.3437, Summer 1991.

~ 25 ~
25. Letter to the Editor captioned: Not the Thought Police, Sounds Australian: Journal of Australian Music
No.32 p.2, Summer 1991.
26. The Asian Composers League, and Related Issues, Sounds Australian Update pp.1112, December
1991 January 1992.
27. Eric Gross: A Profile of the Composer, in Contemporary Composers (ed. P. Collins and B. Morton), St
James Press, London, pp.350351, 1992.
28. (ed., with Chris Dench): An Emotional Geography of Australian Composition, Sounds Australian:
Journal of Australian Music No.34 pp.832, Winter 1992.
29. Letter to the Editor captioned: More acoustical goulash, Sounds Australian Update p.3, September
1992.
30. Letter to the Editor captioned: Invocation: Live and Let Live!, Sounds Australian Update pp.34,
November 1992.
31. Some Random Thoughts on John Cage (1912 1992), and New Music, Unpublished Paper, Sydney,
Australia, December 21, 1992: delivered as a Radio Lecture/Performance as part of A Tribute to John
Cage: Returning the Compliment, ABC-FM Stereo, December 21, 1992.
32. A Hierarchical Metalogue on Accessibility, Innovation and Parasitism, Unpublished Writing, Sydney,
Australia, October 1993.
33. Letter to the Editor captioned: X in Xmas, The Sydney Morning Herald p.12, December 28, 1993.
34. Welcome to McMusic Corporation, Unpublished Writing, Sydney, Australia, January 1994.
35. Letter to the Editor captioned: Is lack of thought a virtue?, Sounds Australian: Journal of Australian
Music No.41 pp.23, Autumn 1994.
36. Foreword to One Hundred Chess Compositions (by Peter Wong), Privately Published, Sydney, Australia,
p.6, July 1994.
37. A Footnote to Turning an Anderssen into an Indian, The Problemist Supplement No.16 p.126, January
1995.
38. Ian Shanahan, in Sound Ideas: Australian Composers born since 1950 A Guide to their Music and
Ideas (ed. Brenton Broadstock), Australian Music Centre, Sydney, Australia, pp.209212 & pp.325327,
March 1995.
39. The view from my laboratory, April 1995, Sounds Australian: Journal of Australian Music No.46
pp.2526, Winter 1995.
40. (ed., with Chris Dench): An Emotional Geography of Australian Composition II, Sounds Australian:
Journal of Australian Music No.46 pp.931, Winter 1995.
41. Chess Problem Corner (Part 1), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.6566 pp.6971, September 1995.
42. Foreword to 200 Chess Problems (by Arthur Willmott), Privately Published, Adelaide, Australia, pp.34,
November 1995.
43. Chess Problem Corner (Part 2), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.67 pp.9395, November/December 1995.
44. Foreword to 100 Pawnless Chess Problems (by Arthur Willmott), Privately Published, Adelaide,
Australia, pp.34, February 1996.
45. Chess Problem Corner (Part 3), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.68 pp.6869, February/March 1996.
46. Chess Problem Corner (Part 4), Junior Chess: The Quarterly Magazine of the NSW Junior Chess
League No.69 pp.5659, May/June 1996.
47. Extended Instrumental Techniques (for Woodwinds): lecture paper delivered during the colloquium
Australian Chamber Music (1970), The University of Western Sydney (Kingswood), February 21,
1997.
48. Music Notation in the Late Twentieth Century, Unpublished Lecture, Sydney, Australia, March 1997.
49. Improvisation in Renaissance Music, Unpublished Lecture Notes, Sydney, Australia, April 1997.
50. Competition No.1 Concerning Harmonicity, Unpublished Writing, Sydney, Australia, May 1997.

~ 26 ~
51. An Undeclared Tribalism in Australian Sonics, Postwest Vol.3 No.2 pp.910, June 1997.
52. Total Fleck Theme in #2 Miniature, The Problemist Vol.16 No.4 pp.170171, July 1997.
53. Black Intelligence, Mat Plus Vol.2 No.16 pp.154155, Winter 1997.
54. Authenticity: Some Points, Unpublished Lecture Notes, Sydney, Australia, July 1998.
55. Letter to the Editor captioned: This law is unfair, sexist, The Sunday Telegraph p.52, August 9, 1998.
56. More Ideal Fleckery in #2 Miniature, The Problemist Vol.16 No.12 pp.465467, November 1998.
57. Free Improvisation: Some Points, Unpublished Lecture Notes, Sydney, Australia, February 1999.
58. Letter to the Editor, Sagacity Magazine No.5 (1999) p.13, September 1999.
59. On Music Research: lecture paper delivered during a Postgraduate Symposium, School of
Contemporary Arts, The University of Western Sydney (Kingswood), October 12, 1999.
60. Letter to the Editor, Australian Music Centre Update No.112, p.11, OctoberNovember 1999.
61. Within a World of Becoming: Words and Instrumental Symbolism in the Music of Ian Shanahan,
Unpublished Essay, Sydney, Australia, February 2000.
62. Professor Peter Platt, AM (19242000) [Obituary], Australian Music Centre Update No.118 pp.12,
OctoberNovember 2000; reprinted: The Consort: The Journal of the Dolmetsch Foundation Vol.56,
pp.6263, Summer 2000.
63. Tries and their Refutations in the Two-Mover: A Solvers Perspective, The Problemist Vol.17 No.12
pp.503504, November 2000.
64. BCPS [British Chess Problem Society] Tourney Award: Fairies 1995, The Problemist Vol.18 No.2 pp.77
81, March 2001.
65. Trinity College 2003: Descant Recorder Grade Books (Initial to Grade 5), [Review] The Studio:
Quarterly Magazine of the Music Teachers Association of NSW Vol.10 No.1 pp.4546, February
2004.
66. Parallel Strategy: 156 Chess Compositions by Peter Wong, [Book Review] Australian Chess Vol.3 No.3
p.40, May 2005.
67. A Generalised Definition of Ideal [Stale]Mate, The Problemist Vol.25 No.10 pp.400401, July 2016.
68. The Total Combinative Separation Theme in #2 Miniature, The Problemist Vol.26 No.1 pp.810, January
2017.

BOOKS AND MONOGRAPHS

1. The Avant-Garde Recorder: A Preliminary Study of some Recent Developments in Alto Recorder
Playing Techniques, and their Notation, BMus(Hons.) Thesis, The University of Sydney, November
1985.
2. Recorder Unlimited: A Preliminary Study of the Alto Recorders Multiphonic Resources, PhD(Prelim.)
Thesis, The University of Sydney, April 1993. To be published eventually by the University of
California Press, Berkeley, California, U.S.A., in The New Instrumentation series.
3. A World of Becoming: Eleven Original Compositions, with Analytical Notes, PhD Thesis, The
University of Sydney, March 2002.

~ 27 ~
WORKS-IN-PROGRESS (TO BE PUBLISHED BY THE AUSTRALIAN MUSIC CENTRE [SOUNDS
AUSTRALIAN]):

38. Photon Reflections (1994). Solo Alto Recorder and Orchestra. To be performed by Ian Shanahan and The
Sydney University Orchestra during 1994?

39. Veil of Light (1994). Solo (Amplified) Mandolin. For Paul Hooper.

40. Eternitys Sunrise (1994). Alto Saxophone, Percussion.

41. Babel 18 [Solar Dust II] (1994). Solo (Amplified) Contrabass. For Bertram Turetzky.

42. Crystal Spheres/Offerings of Light (1995). Amplified Mandolin, Organ. For Paul Hooper and Lawrence
Bartlett.

43. Sephiroth : Panentheism (1995). Solo Amplified(?) Saxophone, Flugelhorn, 3 Trumpets, 3 Horns, 3 Tenor
Trombones, Bass Trombone, Tuba, 2 Percussion.

44. Uranias Mirror (1996). Song Cycle (Voice and Ensemble) to texts by Donald Stallybrass.

45. Clarinet Solo for Roslyn Dunlop.

46. Piano Quartet for Parnassus Ensemble.

47. Work for 13 instruments (1994) for ELISION.

48. Percussion Quartet for Synergy Ensemble.

49. Piano Solo for Roger Woodward.

50. (Amplified) Guitar Solo for Daryl Buckley.

51. A Wenigsteiner for GWC (1997). Solo Piano [1 page!].

A great title (use the grammatically correct Greek/Coptic, together with the following translation and its
meaning!): Apocryphon of Pleroma [meaning = The Secret Book of Fullness].

Also Thunder, Perfect Mind the title of a 4th-century poem from the Nag Hammadi Codices.

Also ... Docetic tudes.

And ... Flames of Perfection.

And ... [An] Ordeal by Labyrinth. (After Mircea Eliade: see the back cover of The Forge and the Crucible: The
Origins and Structures of Alchemy.) An Ordeal by Labyrinth would also make a fine subtitle.

~ 28 ~