3.5.1 Staff Research Leadership and Recognition

The School’s national and international research leadership profile has grown since the last review. School of Music staff are leaders in their respective disciplines:

• Professor Margaret Barret served as President of the International Society of Music Education (2012-2014) and President of the World Alliance for Arts Education (2013-2015).

• Associate Professor Julie Ballantyne acted as Chair of the Music in Schools and Teacher Education Commission (MISTEC) of the International Society of Music Education (2016-2018).

• Dr Mary Broughton served as National Secretary of the Executive Committee of the Australian Music and Psychology Society (2018-2020) and chaired the Society’s national conference, incorporating the 5th International Conference on Music and Emotion, in 2017.

• Associate Professor Eve Klein is currently a General Board Member for the Australasian Computer Music Association.

School staff currently edit major journals:

• Dr Ballantyne has served as editor of Research Studies in Music Education, (SCIMAGO Quartile 1 in Education and Music) since 2018. The publication has moved from the 12th to the 3rd ranked publication in ‘Music’ since that time. She has also served on editorial boards for the International Journal of Music Education, Education Sciences, Research Studies in Music Education, Media Journal in Music Education, Malaysian Journal of Music and Psychology of Music, and as Secretary for the Asia-Pacific Society of Music Education Research.

• Dr Broughton has served as Associate Editor of Frontiers in Psychology: Performance Science since 2019.

• Dr Collins serves as Editor-in-Chief of Musicology Australia, the official journal of the Musicological Society of Australia.

• Dr Klein is Member of Editorial Board for Chroma: Journal of the Australasian Computer Music Association

School staff have been awarded a variety of fellowships that have allowed them to develop their work:

• Professor Barrett was awarded a Fulbright Senior Research Fellowship (2018), a Beaufort Visiting Fellowship at St John’s College, University of Cambridge (2019) and a FMSH Research Fellowship at IRCAM (Paris, 2019).

• Dr Klein was awarded an Institute for Advanced Studies in the Humanities Fellowship, UQ (2019).

• Dr Broughton was awarded a UQ HASS Faculty Fellowship (2020) to undertake research at the world-leading UQ Institute for Social Science Research.

• Dr Morton was a Fellow of the Royal School of Church Music (2016).

School staff have been recognised for their research and artistic achievements in a variety of ways:

• Dr Klein was a Finalist for the Artistic Excellence Award, Australian Women in Music Awards (2022), Joint Winner of the Open Publication Prize at the International Association for the Study of Popular Music Australia New Zealand (2016) and Finalist, Vocal Work of the Year, Australian Art Music Awards (2014).

• Mr Chalabi won the Melbourne Recital Centre Award for Contemporary Performance (2016).

• Dr Broughton and Professor Barrett collaborated on research that won the Music Trust Award for Research into the Benefits of Music Education (2015).

• Dr Davidson has won a number of awards, including:

• Australian Academy of Cinema and Television Arts (AACTA) Awards (2021)

• AACTA Award: Best Documentary Sydney Film Festival (2021)

• Documentary Foundation Australia Award: Best Australian Documentary (2021)

• Instrumental Work of the Year (Finalist) APRA/AMCOS AMC Art Music Awards (2019)

• Excellence in Music Education (Winner) APRA/AMCOS AMC Art Music Awards (2015)

All staff receive invitations to present their work or give guest performances and masterclasses around Australia and internationally. Performance and composition staff are in constant rotation on ABC Classic and national MBS community radio station playlists. Tinalley String Quartet (Mr Chalabi and Mr Murphy), the Viney-Grinberg Duo, and Drs Brown, Davidson and Morton are frequently reviewed in international and national publications such as Strad magazine, Limelight, The Australian, The Age and Sydney Morning Herald. They receive invitations to perform at festivals such as Perth International, Australian Festival of Chamber Music, Coriole, Queensland Music Festival, Port Fairy, Tasmanian Chamber Festival, Blackheath, and Tyalgum.

3.5.2 Research Capacity

At present, the School’s research community consists of 12 continuing academics, 15 honorary staff members and 34 HDR students, as well as 33 MMus students and 27 BMus(Hons) students undertaking research projects. As a small School, changes in staffing profile can have significant impact on research performance. Since 2013, the School has lost 2 Professors and 2 Associate Professors, all female-identifying, none of whom have been replaced. While traditional publication and income metrics have been affected by these losses, the shift in the staffing profile of the School has resulted in a corresponding increase in non-traditional and creative works research in that period.

Our areas of strength among academic staff include:

Historical musicology:

• counterpoint from the late Middle Ages through to the time of Bach

• the history of music theory

• mediaeval vernacular song

• late nineteenth/early twentieth century Russian music.

Music education:

• early childhood

• music teacher identities

• social justice

• music teacher education

• the social and psychological impacts of musical engagement.

Psychology of Music:

• music perception and cognition

• action and interaction through music performance

• audience engagement and development

• promoting individual and community wellbeing through active participation in music performance.

Composition:

• stylistic pluralism

• intersections between music and language

• improvisation

• large-scale immersive art works with significant innovations in the use of music technology.

Performance:

• investigating performance practices

• the first documented performances of new works

• collaborating with composers, other musicians and artists.

3.5.3 Research Performance

Given its small staffing base, Music’s metrics are volatile. While the past decade has seen a thriving research culture, the current context presents challenges. The following section details and contextualises highlights from recent past performance. It also fills out the incomplete picture provided by standard research metrics, summarising the contribution of the School’s non-traditional research outputs.

3.5.3.1 Research Outputs

This section draws on data provided by UQ’s Research Output and Impact (ROI) team in combination with contextual information for the School’s NTROs. Summary research performance statistics provided by the ROI team focus exclusively on traditional outputs and, therefore, reflect achievement in approximately half of the School’s research profile. Specifically, while quality and impact information for creative works research is now entered into eSpace by researchers, it is not packaged and presented by university systems for review purposes. That data is also not curated, with varying levels of staff capability in capturing, translating and communicating the various quality and impact measures of their research. This is an identified area of need for researcher development.

When looking at the School’s current total capacity in traditional research, Scopus identifies 148 publications for the period 2013-2021.

way to demonstrate that contribution. The School’s ERA submission generally finds a balance between traditional and nontraditional outputs for peer review.

Of the 253 NTROs entered for current academic staff for the period since the last review, 65% are individual live performances of creative works. Musical compositions constitute the next largest group, followed by recorded works.

It should be noted that of the top 10 authors (by number of publications) contributing to 148 Scopus publications, only 3 are current continuing School of Music staff (Drs Ballantyne, Broughton and Collins). The two top contributors are both Honorary Professors (Profs Welch and Barrett, the former Head of School).

By contrast, 8 out of the 10 top contributors of creative works/NTRO research are current School of Music continuing staff (Drs Brown, Davidson, Grinberg, Klein and Morton, Messrs Chalabi and Murphy, and Professor Viney). A meaningful comparison of the two output formats (traditional and non-traditional) in terms of volume and proportion is difficult –NTROs are entered individually, including all major and minor works, but are later grouped into portfolios according to research theme. The nature of NTROs is that the significance and impact of the work is sometimes developed over a period of time; a collection of related works becomes the most effective

There has been a significant increase in the quantity and quality of NTROs at the School of Music since the previous review. NTRO quality is assessed in part through ERA exercises, in which 30% of outputs are submitted for peer review and have contributed to Music’s consistent score of ‘4’ (above world standard). Field of Research (FoR) Cluster Leaders and Discipline experts curate NTRO outputs in preparation for ERA exercises.

Almost half (43.4%) of UQ’s 2018 ERA submission for creative works was contributed by 19 (12.7%) Music academic staff. The great majority were performance and composition creative works research outputs produced by 8 staff in the School.

Table 6 Creative works publications data for the School of Music, 2013 to 2021. Source: UQ Reportal.

The School of Music’s contribution to FoR 1904 in ERA 2018 was equal 2nd out of 26 assessed units nationally and exceeded the national score average (4.01 relative to 3.2).

3.5.3.2 Research Quality and Impact

From 2016 to 2019, the School’s data reflects the highest CNCI and publications in the top 10% percentile in HASS. The tapering in 2020 reflects the impact of staff departures as well as COVID-19.

Table 8 Top journals in which Music researchers published at least 4 articles, 2013 to 2021. Source: UQ Library School of Music Publications Report.

Table 7 CNCI for HASS and School of Music, 2016 to 2020. Source: UQ Reportal.

The largest number of traditional School of Music publications found in Scopus are categorised in the Arts and Humanities ASJC (96, current capacity) with a Field-Weighted Citation Impact (FWCI) score of 1.70, indicating strong quality in the publications in that category (FWCI of 1 equals the global average).

More than half of the top 8 music journals in which School of Music researchers have published 4 or more articles during the period 2013-2021 are in the top quartile.

The quality and impact of research outputs are contextualised in different research areas in contrasting ways. In traditional research metrics, for example, Dr Ballantyne is the 20th most-cited author out of 31,114 authors in the field of ‘Music’ since 2012-2021; 27% of her articles are in the top 1% of publications based on citations by year, category and document type (InCites Thomson Reuters Report Created: 11 Sep 2022).

By comparison, quality in NTROs is demonstrated in context-dependent ways, usually involving elements such as visibility, profile and prestige of the industry organisations or performance venues involved with the production and dissemination of the output. For example, Decca, Naxos and ABC Classics are internationally leading labels of major significance, and School of Music staff (Mr Chalabi and Murphy, Drs Grinberg and Morton, and Professor Viney) have released multiple major CD albums through those outlets as well as Tall Poppies (the leading label for innovative and new Australian music, with a distinguished and decades-long history). These labels are selective and only accept a small number of proposals each year. Quality assurance processes can also be seen in the way prestigious presenters such as major venues and festivals accept submissions from around the world and put proposals through a rigorous committee selection process, with ideas subject to feedback and negotiation. In terms of research impact and engagement, School of Music recordings by performance and composition staff are regularly broadcast on ABC Classic FM, reaching millions of listeners over time.

Impact and engagement indicators for Dr Davidson’s work are illustrative: his compositions have over one million views on YouTube; his film music has been featured on SBS and ABC television, with films widely screened and reviewed globally, with commentary from figures including former Australian Prime Minister Julia Gillard.

Tourism and economic analysis of Dr Klein’s City Symphony project (app only) was supplied by QMF’s research partners AEC Group. AEC estimate that the app generated:

• $1.2M in business output within the Brisbane LGA

• $652.4K in Gross Regional Product for Brisbane LGA

• 5.0 FTE jobs supported

• $415.7K in wages and salaries paid

• Attendees spent on average $46.90 as a direct result of engaging with the app, translating to $98.4K estimated total attendee expenditure.

3.5.3.3 Research Benchmarking

The tables below provide benchmarking data against two Australian Go8 universities and VUW. MCM’s continuing academic staff headcount was 57 in 2021. ANU and VUW are broadly comparable in size.

These data demonstrate good performance overall, relative to our institutional colleagues when adjusted for size. Each of UQ, ANU and VUW appear to have been impacted by COVID-19 in relation to publications per year. UQ music researchers enjoy healthy citation rates, generally the highest per publication, and second highest in terms of outputs in the top 1% (behind VUW).

Table 10 All Science Journal Classification (ASJC) Visual Arts and Performing Arts data for UQ, MCM, VUW and ANU, 2013 to 2021. Source: UQ Library School of Music Publications Report.

3.5.3.4 Research Income and Support

The School of Music supports its research through a variety of external and internal mechanisms. Raw grant income figures do not paint a complete picture of the School’s ability to support its research. Like other Humanities disciplines, certain kinds of music research require little in terms of funding to be successful. Similarly, the vast majority of individual creative works outputs are funded by various forms of unregistered or in-kind support due to that research usually being conducted via collaboration with arts industry organisations in arts industry settings.

Challenges to research income and support include COVID-19 impacting the renegotiation or abandonment of projects and partnerships, loss of senior research staff, and concerns over the handling of Australian Research Council (ARC) quality assessment and funding schemes, particularly for HASS disciplines, leading to a recently announced review of the body. Additionally, a number of our researchers have taken opportunities for periods of extended leave in the wake of COVID-19 to reconnect with family members, including overseas. This has had an impact on grant applications and other research activity.

The decline in income for 2020 reflects the twin impacts of Professor Barrett’s departure and Dr Collins’ grant ending. While these numbers are low, Music is not an isolated outlier, being one of 6 Schools at UQ with a mean research grant income below $100,000 in Category 1.

For a small School with only a subset of researchers working in ARC-eligible fields, Music has a distinguished grant record. Since the last review, School of Music staff have held the following ARC grants for Discovery Projects:

• The art and science of canon in the music of early 17th-century Rome (2018-20, $339,683), Chief Investigator Dr Denis Collins

• Signature pedagogies for creative collaboration: Lessons for and from music (2020, $64,346), Chief Investigator Professor Margaret Barrett (transferred funding (2020-2023) to Monash University when she took up her new appointment)

• Pedagogies of expertise in musical thought and practice (2017-2019, $294,010), Chief Investigator Professor Margaret Barrett (transferred funding to Monash University when she took up her new appointment)

• Canonic techniques and musical change from c.1330 to c.1530” (2015-17, $117,000), Chief Investigator Associate Professor Denis Collins

• Being and becoming musical: towards a cultural ecological model of early musical development (2013-2015, $330,000), Chief Investigator Professor Margaret Barrett

• The Well-Travelled Musician: John Sigismond Cousser and Cultures of Musical Exchange in Baroque Europe (2013-2014, $90,000), Chief Investigator Associate Professor Samantha Owens.

Dr Collins and Dr Owens were also Associate Investigators from 2011 to 2018 at the UQ node of the ARC’s Centre of Excellence for the History of Emotions in Europe, 1100-1800.

Nineteen funding agencies were acknowledged in School of Music current staff publications between 2013 and 2021. The top 2 agencies, mentioned in slightly over 50% of publications, were the ARC and UQ.

Research and Innovation 4

5 Economic and Social Research Council 3

6 Griffith University 2

Table 12 Funding agencies acknowledged in more than one publication by current Music staff, 2013 to 2021. Source: UQ Library School of Music Publications Report.

Our staff have secured external research income from various sources, a proportion of which appears as UQ-registered grants:

• Queensland Music Festival Pty Ltd: City Symphony (2020-2021, $33,000), Chief Investigator Associate Professor Eve Klein

• Australia Council for the Arts: The Klein/ Arkinstall Project (2020-2022, $16,500), Chief Investigator Dr Klein

• Queensland Symphony Orchestra: Symphonies Online: connecting and sustaining community music engagement in regional and remote communities (20202022, $11,000), Chief Investigator Associate Professor Julie Ballantyne

• Westerman: Audience response to contemporary classical music performance (2017-2018, $1,000), Chief Investigator Dr Mary Broughton

• Social Sciences and Humanities Research Council of Canada: Mapping the musical life-course: advancing theoretical frameworks and methodologies for understanding emergent affordances, challenges, and constraints across the musical lifecourse (2017-2018), Chief Investigator Professor Margaret Barrett

• Queensland Government Advance Queensland Knowledge Transfer Partnerships: Silver Memories Knowledge Transfer Partnership Project (2016-2017, $11,880), Chief Investigator Dr Libby Flynn

• Australian Youth Orchestra: Australian

Youth Orchestra (AYO) – UQ National Music Teacher Mentoring Program Evaluation (2015-2017, $76,995), Chief Investigator Professor Margaret Barrett

• Musica Viva: Futuremakers: An evaluation of the Musica Viva Artist Development Program (2015-2019, $49,500), Chief Investigator Professor Margaret Barrett

• UWA-UQ Bilateral Research Collaboration Award: Developing a working model of performance and reflective practice research: A case study of Venus and Adonis, 1683/1715/2013 (2013, $18,800), Chief Investigator Dr Samantha Owens

• Australian Youth Orchestra: Pathways to the profession: a case-study investigation of the professional learning and career development of Orchestral Musicians in Australia (2013-2015, $50,000), Chief Investigator Professor Margaret Barrett.

Missing from this picture is a significant amount of in-kind support from industry and otherwise unregistered funding of artistic work. This includes multiple Australia Council Grants that have not been registered due to the Council’s inability to include institutional overheads in grant awards. In 2020, Dr Klein undertook to register an arts grant to UQ, facing administrative challenges in the process. Ultimately, it is unclear if registering arts grants in future is an attractive policy for the University to commit to, as the amounts are not large and the administrative burden significant.

The following examples illustrate the diversity of unregistered funding that supports creative works research:

• Dr Robert Davidson – 25 separate grants and commissions, including four highly competitive Australia Council for the Arts grants, for a total of $185,000

• Dr Eve Klein – 8 separate grants for a total of $177,907, including sources such as the Australia Council for the Arts, Fairfax Family Foundation, Arts Queensland, Metro Arts, APRA-AMCOS and Ensemble Offspring

• Professor Liam Viney and Dr Anna Grinberg – 3 Australia Council for the Arts commission and recording grants for a total of $37,738 (2013, 2019, 2022)

• Mr Adam Chalabi – Australia Council for the Arts grant to record for DECCA, $19,900 (2019).

• Associate Professor Adam Chalabi –

$20,000 in philanthropic support to commission a chamber version of Nigel Westlake’s Compassion

• Dr Graeme Morton – $35,000 in 2016 from the Queensland Community Benefit Fund to commission a Baroque chamber organ

• Dr Graeme Morton – $30,000 in Australia Council for the Arts funding to record an album of new Australian choral music (Tall Poppies, 2016)

• Dr Graeme Morton – $19,335 from the Australia Council for the Arts for a national tour.

Beyond these cash contributions to research, most creative works research relies on significant in-kind support for events, venues, broadcasts and other forms of assistance in production and dissemination.

Despite the lack of visibility for these forms of funding, it should be acknowledged and understood that artistic research is frequently supported externally and that competitive processes are involved in winning that support. Arts entities are very selective in which projects they choose to support in a globally competitive cultural environment.

Internally, the School has supported its research trajectory with consistent success in attracting funding from UQ schemes. These include UQ New Staff Research Start-Up grants, UQ Travel Awards for International Collaborative Research and UQ Early Career Researcher awards. Recent larger-scale grants involving significant numbers of Music academics include:

• UQ Research Support Package Faculty Strategic Research funding: Creative Arts and Human Flourishing (2021-ongoing, $787,884), Chief Investigator Professor Liam Viney in collaboration with the School of Communication and Arts

• One UQ Research Infrastructure Investment Scheme (RIIS): A portable suite of psychophysiological, sociometric and motion-capture equipment for partnered research in human behaviour (2020-2022, $310,076), Chief Investigator

Dr Mary Broughton

• One UQ Research Infrastructure Investment Scheme (RIIS): What-If Lab: XR Space (Stage 1) (2020-ongoing, $242,000), Chief Investigator Associate Professor Eve Klein

• UQ Major Equipment and Infrastructure Grant: Music Keyboard and Piano Research

Equipment and Infrastructure (2017, $257,942), Chief Investigator

Professor Liam Viney

• UQ Major Equipment and Infrastructure

Grant: Music Recording Infrastructure for Translational Research in Creative Practice

Outputs (2017, $194 939), Chief Investigator

Professor Margaret Barrett

• HASS strategic research funding: Translational Research in Creative Practice (2015, $110,000) Chief Investigator

Professor Margaret Barrett.

The School of Music distributes internal research support equitably and at a flat rate rather than through performance incentivisation. Pre-pandemic, $1,500 annually per continuing academic was standard. Internal research support was suspended in 2020 and 2021 due to budget constraints and re-introduced in 2022 at the amount of $1,000. While availability of research support is available to all staff, uptake is not consistent. A general pattern of under-utilisation can be seen in the performance area, where teaching buy-out for research is rarely sought and where a significant proportion of research activity does not require university funding.

To incentivise ARC applications, the School undertakes to provide strategic support of up to $5,000 per year as a contribution to the budget of ARC applications to demonstrate School support for the proposed project.

3.5.3.5 Creative Arts and Human Flourishing (CAHF) Project

In 2021, researchers in the School of Music and the School of Communication and Arts were invited to partner on a strategic research funding request that resulted in the Creative Arts and Human Flourishing (CAHF) project being funded for 18 months ($787,884). The CAHF project responds to one of the Faculty’s three identified focus areas for strategic research investment – Creative Communities (the others are Digital Cultures and Ethical Societies).

This project intends to establish foundations for creative communities by consolidating research capacity in the creative and performing arts at UQ by gathering and leveraging artistic practice, networks and infrastructure. It foregrounds engaging with new UQ collaborators (including ISSR, and the Schools of Social Sciences, Psychology, Public Health, Architecture, and Information Technology and Electrical Engineering) and forging new external partnerships (government and industry, and Indigenous, migrant, digital and regional communities). The project aims to build compelling track records for competitive grants (such as ARC Linkage, Regional Arts Development Fund) in the creative and performing arts disciplines.

CAHF employs an innovative model of research co-design in which artist-researchers lead and collaborate with multidisciplinary researchers across UQ, and with industry and community partners, to co-design projects that explore creativity and human flourishing in real-world contexts.

The CAHF project folds into the HASS Faculty’s broader strategic goal to advance the public humanities. While CAHF is not intended to function as a School-based frame in the same way as the Creative Collaboratorium, it has served as a mechanism for School researchers to collaborate with researchers from a range of disciplines and partners across UQ and beyond.

CAHF’s first phase ends in December 2022. A symposium scheduled for early December will include keynote speakers from the US-based Humanities and Human Flourishing Network, Professor James Pawelski (University of Pennsylvania) and Dr Yerin Shim (Chungnam National University). Through the symposium, and working with Outside Opinion research consultants, the next phase of CAHF will be developed, which maps internal capabilities, visualises potential research domains and focus areas, identifies key research partners (existing and potential) and funding opportunities. The aims will be to broaden CAHF’s researcher base and to position creative arts researchers at UQ for success in external funding opportunities.