Linda Kouvaras - publications
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B1 chapters in research books
Kouvaras, L. ‘The Dynamics of Élan: The Compositional Aesthetic of Mary Finsterer’.Reclaiming the Muse. Contemporary Music Review II. Eds. Nigel Osborne & Peter Nelson. Issue eds. Sophie Fuller and Nicola LeFanu. London: Harwood Academic, 1994: 89–91. Also in Sound Ideas: Australian Composers born after 1950. Ed. Brenton Broadstock. Sydney: Australian Music Centre, 1995: 290–91.
Kouvaras, L. ‘A Composer of Social Conscience: The Compositional Aesthetic of Brenton Broadstock’. Sound Ideas: Australian Composers born after 1950. Ed. Brenton Broadstock. Sydney: Australian Music Centre, 1995: 282-85.
Kouvaras, L. ‘A Plurality of Voices: An Overview of Aesthetic Impulses’. Sound Ideas: Australian Composers born after 1950. Ed. Brenton Broadstock. Sydney: Australian Music Centre, 1995: 263–76.
Kouvaras, L. ‘Australian Composition Since 1970: Diverse, Daring, Multi-Dimensioned’.Australia: Exploring the Musical Landscape. Ed. Caitlin Rowley. A Joint Project of the Australian Music Centre and the Dept of Foreign Affairs and Trade. Sydney: Australian Music Centre, 1998: 52–57. Also in World New Music Magazine 9 (Sept 1999).
Kouvaras, L. ‘When the String Snaps: Two Domestic Prison Scenarios’. Music Research: New Directions for a New Century. Eds. Michael Ewans et al. Amersham, Buckinghamshire: London: Cambridge Scholars P, 2004: 215–29. ISBN 1-904303-35-8.
Kouvaras, L. ‘From Port Essington to the Himalayas: Music, Place and Spirituality in Two Recent Australian Works’. The Soundscapes of Australia: Music, Place, and Spirituality. Ed. Fiona Richards. London: Ashgate, 2007: 229–245. ISBN 0-7546-4072-8.
Kouvaras, L. ‘Postmodern Chamber Opera’. ChamberMade 1988–2009: 21st Anniversary.2009. (forthcoming).
C1 journal articles — refereed
Kouvaras, L. ‘Operatic Snuff?: Gender Matters in Music Criticism’. Australian Feminist Studies. No. 20, Summer (1994): 119–30. Also in Ormond Papers. No. X (1993): 165–81.
Kouvaras, L. ‘The Semiotic and the Symbolic in Two Sweets-Smearing Scenes’.Australasian Music Research, No. 6 (2002): 65–86.
Bennett, D., & Kouvaras, L. ‘Modernist Versus Postmodernist Aesthetics: Contemporary Music Criticism and the Case of Matthew Hindson’. Musicology Australia. Vol. 27 (2004–2005): 54–72.
Kouvaras, L. ‘Review Article: Issues at Stake Beyond the “Insuperable Melancholy Longing for the Unity of Interpretation with Experience”: Review of Beyond Structural Listening?: Postmodern Modes of Hearing, ed. Andrew Dell’Antonio, andPostmodern Music, Postmodern Thought, ed. Judy Lochhead and Joseph Auner’.Musicology Australia. Vol. 27 (2004–05): 112–22. ISSN 0814 5857.
Kouvaras, L. ‘ “What’s Fat, Anyway? It’s All in the Mind”: Food, Mothering and Fatness in Mike Leigh’s Life is Sweet’. Ormond Papers. Vol. 24 (2007): 151–66.
Kouvaras, L. 'Being "In Tune with the Workings of Society": Violence, Maleness, and Two "Touching Little Ballads"'. Radical Musicology. Vol. 3, 2008, (17 May 2009), 45 pars.
C2 journal articles — unrefereed
Kouvaras, L. ‘Response to Warren Burt’s Essay on Postmodernism’. Sounds Australian. No. 33, Autumn (1992): 34–38.
Kouvaras, L. ‘Brenton Broadstock, a Composer of Social Conscience’. APRA. December (1992): 41–42.
Kouvaras, L. ‘Question-time for the (Post?)Modern Composer’. New Music Articles. No.10 (1992): 20.
Kouvaras, L. ‘Operatic Snuff?: Gender Matters in Music Criticism’. Sounds Australian. No. 40, Summer (1993–94): 39–43.
Bennett, D., & Kouvaras, L. ‘Perspectives on Postmodernism: Sampling Australian Composers’. Sounds Australian, No. 67 (2006): 28–37. Kouvaras: 60%; Bennett: 40%.
C3 unrefereed letters or notes
Kouvaras, L. ‘Music Live: Review of “New Music Australia, 1992”’. Sounds Australian.No.35, Spring (1992): 45–48.
Kouvaras, L. ‘Response to Ian Shanahan’. Context. No. 3. Winter (1992): 41–42.
Kouvaras, L. ‘Review of From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s, ed. Philip Hayward’. Journal of Australian Studies. No. 44 (1993): 23–25.
Kouvaras, L. ‘Review of Orchestral Music by Ross Edwards’. Sounds Australian 38. Winter (1993): 43–44.
Kouvaras, L. ‘Review of Music by Barry Conyngham’. Sounds Australian 37. Autumn (1993): 60–61.
Kouvaras, L. ‘Review of Passion, by Andrée Greenwell’. Ormond Papers XI (1994): 160–162. Also in Sounds Australian 44. Summer (1994-95): 55–56.
Kouvaras, L. ‘An Act of Affirmation: Review of Repercussions: Australian Composing Women’s Festival and Conference, 1994. Ed. Thérèse Radic’. Centre for Studies in Australian Music Newsletter, No. 2, December (1995): 3.
Kouvaras, L. ‘Music and Feminist Theory: Review of Musics and Feminisms. Eds. Sally Macarthur and Cate Poynton’. Centre for Studies in Australian Music Newsletter. University of Melbourne. No. 10. Dec (1999): 10–11.
Kouvaras, L. ‘Australian Composition Since 1970: Diverse, Daring, Multi-Dimensioned’. World New Music Magazine 9 (Sept 1999).
Kouvaras, L. ‘Review of Laquiem, by Andrée Greenwell’. Sounds Australian 54 (1999): 37.
Kouvaras, L. ‘Review of Complete Accord, by Miriam Hyde’. Musicology Australia. Vol. 27 (2004–05): 136–140. ISSN 0814 5857.
Kouvaras, L. ‘Review of Music, Sensation, and Sensuality, ed. Linda Phyllis Austern’.Notes, the Quarterly Journal of the Music Library Association. March (2004): 433–34.
Kouvaras, L. ‘Response to John Philips’. MSA Newsletter. No. 66. March (2007): 35–38.
C5 other refereed contributions to refereed journals
Kouvaras, L. ‘Broadstock: Illuminating the Dark Side’. Context. No. 18, Winter (2000): 57–64.
F1 Ccnference publication — full written paper — refereed
Kouvaras, L. ‘Operatic Snuff?: Gender Matters in Music Criticism’. Cultural Studies: Pluralism and Theory 2. Ed. David Bennett. Melbourne: Literary and Cultural Studies, Department of English, University of Melbourne, 1993: 233–44.
Kouvaras, L. ‘Postmodern Temporalities in Recent Australian Chamber Operas’. Aflame with Music: 100 Years of Music at the University of Melbourne. Eds. Brenton Broadstock et al. Melbourne: Centre for Studies in Australian Music, University of Melbourne, 1996: 401–10.
Kouvaras, L. ‘Taking Her Breath Away: A Study of Two Popsongs’. Loose Canons: Papers from the 2001 National Festival of Women’s Music. Eds. Kouvaras, L., et al. Canberra: Southern Voices, 2004: 3–10.
Kouvaras, L. ‘Modernist and Postmodernist Arts of Noise: Part 2: From the Clifton Hill Mob to CMO’s Phobia’. Sound Scripts: Proceedings of the Inaugural Totally Huge New Music Festival Conference 2005. Vol. 1 Perth: Edith Cowan University, 2006. 54–59.
Kouvaras, L. ‘The Psychic “Island” of the Sociopath: Nick Cave as Creator-Protagonist in his “Song of Joy”. Proceedings from Islands: Combined Conference of the Australian and New Zealand Musicological Societies, Queensland Conservatorium, Griffith U, Brisbane, Australia (22–25 Nov, 2007). London: Cambridge Scholars P, 2008. (Accepted, subject to minor revision)
Kouvaras, L. ‘The Outback in the Himalayas: “Island-esque” Tropes of Identity and Landscape in Australian Composer Stuart Greenbaum’s Ice Man’. Proceedings from Islands: Combined Conference of the Australian and New Zealand Musicological Societies, Queensland Conservatorium, Griffith U, Brisbane (22–25 Nov, 2007). London: Cambridge Scholars P, 2008. (Submitted)
Kouvaras, L. ‘The Edges of Society: Sexual Murder and the “Normal” Male in Nick Cave’s “Song of Joy”’. Music on the Edge: Selected Papers from the 2007 IASPM Australia/New Zealand Conference, Dunedin, New Zealand. Ed. Dan Bendrups. IASPM Australia/New Zealand, 2008. 99–104.
J6 Minor original creative published works
Kouvaras, L. Fragment of Gratification (for piano solo). Melbourne: Reed Music, 2001. RM 044. ISMN: M-67305-630-5.
Kouvaras, L. The Sky Is Melting, for violin and piano. –2000. Sydney: Australian Music Centre, 2006. ISMN: M-67305-623-7.
Kouvaras, L. Three St Kilda Sketches, for solo piano. –1994–7. Sydney: Australian Music Centre (2006) ISMN: M-67305-626-8.
Kouvaras, L. Anagnorisis (53 days), for solo piano and string orchestra. –2002. Sydney: Australian Music Centre, 2006. ISMN: M-67305-622-0.
J7 minor original creative recorded works
Kouvaras, L. ‘Distant Lullaby’, for soprano and piano. Repose. Melbourne: Move Records MCD 142 (1999).
Kouvaras, L. ‘Three St Kilda Sketches (I)’. Radio New Zealand, How Australians Hear Australia (2001).
Kouvaras, L. ‘Secrets of the Amphitheatre’, for solo piano. Giants in the Land. Melbourne: Move Records MD 3239 (2002).
Kouvaras, L. ‘St Kilda Sketch, No. 2’, for solo piano. Move 35: Celebrating 35 Years of Australian Music and Musicians. Melbourne:Move Records MD 3250 (2003).
Kouvaras, L. … to enter the dream which includes all dreams: Four Settings of Texts by Chris Wallace-Crabbe (SATB Choir & Pno), Stations. Australian Contemporary Chorale. Hildy Essex, Dir. and Conductor. Linda Kouvaras, Pno. Melb: Australian Contemporary Chorale, Independent Release (2006).
J11 major original creative published works
Kouvaras, L. Art & life: a song cycle for high female voice and piano (1999) Sydney: Australian Music Centre (2006) ISMN: M-67305-630-5
J12 major original creative recorded works
Kouvaras, L. Kouvaras: PianoWorks. Linda Kouvaras, Piano. Melbourne: Move Records MD 3233 (2000).
R11 theses passed for higher degrees
Kouvaras, L. Sweet Death: Strategies of the Feminine Grotesque in a Contemporary Australian Chamber Opera. PhD Thesis. U of M, 1996.
Kouvaras, L. Aspects of the Postmodern Condition in Southern Cross: Double Concerto, by Barry Conyngham. Master of Music (Performance Thesis). U of M, 1991.
Presentations / conference papers
‘Operatic Snuff?: Gender Matters in Music Criticism’. Inaugural Conference of the Interdepartmental Programme in Cultural Studies of the University of Melbourne:Cultural Studies: Pluralism and Theory (Dec, 1992).
‘Postmodern Strategies in the Construction of the Leading Female Roles in Two Recent Australian Operas’. XV National Conference of the MSA, Sydney (10 Oct, 1992).
‘Postmodern Temporalities in recent Australian Chamber Operas’. Faculty of Music’s Centennial Conference, Melb (June, 1995).
‘Two Sweets-Smearing Scenes in the film, Life is Sweet (by Mike Leigh) and the Contemporary Feminist Opera, Life is Sweet (by Andrée Greenwell)’. XIX National Conference of the MSA, School of Graduate Studies, The University of Melbourne (2–6 July, 1999).
‘Current Composition’. Ormond College Senior Common Room Forums (March 1999).
‘My Research Interests’. Faculty of Music Lunchtime Staff Seminar Series, Melb (Oct, 2001).
‘Taking Her Breath Away: A Study of Two Popsongs’. MUSICology 2001, MSA, University of Melbourne (18–22 April, 2001). A variant of this paper also given at Loose Canons: National Festival of Women’s Music, Canberra (30–31 Aug, 2001). Paper was also accepted at the IASPM conference in Newcastle, UK (2002).
‘When the String Snaps: Two Domestic Prison Scenarios’. XXV National Conference of the Musicological Society of Australia, 2002, Newcastle, NSW (2–6 Oct, 2002). Also given at the MSA Victorian Chapter Conference, University of Melbourne, (16–17 Nov 2000).
‘‘‘Only Women Bleed”: Representations of (Extreme States of) Male Identity in two popular songs:“Only Women Bleed” and “The Mercy Seat”’. SIMS, Melb (11–16 July, 2004).
‘Postmodernism in Australian Art-Music: A Reappraisal’. SIMS, Melb (11–16 July, 2004).
‘Exploring the "Spaces Between the Notes": The Postmodern Politicising of the String Quartet’. XXVIII National Conference of the MSA, Sydney (28 Sept–1 Oct, 2005).
‘From the Clifton Hill Mob to CMO’s Phobia: Noise, Music and Glitch in Australian Music Composition, from the 1970s to 2005’. International Conference. The Inaugural Tura Totally Huge New Music Festival Conference, Perth (7–9 Oct, 2005).
‘Music, Identity and Landscape: Tropes of The Outback in Two Contemporary Australian Compositions’. Music and Visual Cultures, 42nd Meeting, Royal Musical Association, Nottingham (11–14 July, 2006).
‘Current Practices in Postmodern Australian Sound-Art’. Postgraduate Seminar, Fac. of Mus., U of M, 30 Aug 2007.
‘The Outback in the Himalayas: Postmodern Tropes of Identity and Landscape in Australian Composer Stuart Greenbaum's Ice Man’. Islands: Combined Conference of the Australian and New Zealand Musicological Societies. Queensland Conservatorium, Griffith U (22–25 Nov, 2007).
‘Sexual Murder and the “Normal” Male: Nick Cave as Creator-Protagonist in his ‘Song of Joy’. Music on the Edge. IASPM-ANZ, University of Otago, Dunedin, NZ (30 Nov–3 Dec, 2007). A variant of this paper also given at Islands (see above).
‘Is “Theremin [Still] the Only Instrument!”?: Grainger’s Legacy in Postmodern Sound Art, or, “Everybody’s Got Their Percy”’. Symposium: Percy Grainger at 125, Melb (7 Dec 2007).
‘Toilets, Tears and Transcendence: The Postmodern Place of, and in, two examples of Australian Sound Art’. UTS Transforming Cultures Symposium: Music and the Production of Place (9 May 2008).
‘Hissing at the Margins: Postmodern Mainstream Positioning in Australian Art-Music and Sound Art’. STUCK IN THE MIDDLE: The Mainstream and its Discontents, The 2008 IASPM-ANZ Conference (Griffith U, Qld, 27–29 Nov, 2008).
‘Music, Identity and the Music Scholar's Tool Kit’, as part of group session, 'Collisions, Collusions: Alterity and the Musicological Performance of Identity'. Participants: John Phillips (SA; chair), Brydie-Leigh Bartleet, Liz Mackinlay (Qld), Linda Kouvaras (Vic), 31st National Conference, MSA (UofM, 4–7 Dec, 2008).
Invitations to present papers
Panelist (with David Bennett, Jonathan Carter, Justin Clemens, & Jonathan D. Kramer as respondent): Forum on Postmodernism and Music at the Conservatorium/Faculty of Music’s Centennial Conference (June, 1995).
‘Can a voice that is essentially female be distinguished from other voices that constitute musical identity? Can identity be truly expressed in music?’. Panel Member, National Festival of Women’s Music, Canberra (30 Aug–2 Sept, 2001).
Opening speech for Femmalé: A Concert of Women’s Music, Federation Hall, VCA (18 Oct, 2001).
‘Recent developments in Music Tertiary Education’. Guest Speaker for the Convocation Committee Dinner, University of Melbourne, at University House (20 Aug, 2003).
Lecture-Recital, Western classical piano repertoire and original compositions. Ithaca Cultural Society, Greece (7 July 2006).
‘Giving Voice to the Un-voiced “Witch” and the “Heart of Nothingness”: Moya Henderson’sLindy’. Opera Indigene: Critical Perspectives on Re/presenting First Nations and Indigenous Cultures. Kings College London, UK (forthcoming) (27 Sept, 2008).
Performances of compositions (select — since 1999)
Launch of CD Repose:‘Distant Lullaby’ (première), Linda Thompson (sop), Deviani Segal (Pno): University House, U of M, (Nov 1999)
The Fourth Festival of Choirs, Australian Musicians Academy: ‘Distant Lullaby’, Linda Thompson (Sop), Deviani Segal (Pno), Sydney Town Hall (April 2000); also Wintyre Gallery, (Aug 2001)
Recital, Lyceum Club: ‘Distant Lullaby’, Linda Thompson (Sop), Deviani Segal (Pno) (Feb 2000)
Greek Artistic Forum of Composers: ‘Distant Lullaby’, Athens (Mar 2004)
FEAST: Celebrating 25 years of the VCA: Three St Kilda Sketches Linda Kouvaras (Pno),Victorian College of the Arts (Nov 1997)
Annual Concert: The Annunciation (text by Diane Fahey) (SATB Choir & org), Ormond College Choir, dir. and conductor, Douglas Lawrence, Rhyss Boak (org) (première), Scotts Church, Melbourne (Dec 1999)
Christmas Concert: The Annunciation (text by Diane Fahey) (SATB Choir & org), Ormond College Dining Hall, Ormond College Choir, dir. and conductor, Douglas Lawrence, Rhyss Boak (org) (Dec 2001)
Celebrating 21 Years of the Choir of Ormond College: The Annunciation (text by Diane Fahey) (SATB Choir & org), Ormond College Choir, dir. and conductor, Douglas Lawrence, Ormond College Dining Hall, Melbourne (20 Sept 2002)
Concert: The Annunciation (text by Diane Fahey) (SATB Choir & org), Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Rhyss Boak (org) Ormond College Chapel, Melbourne (Nov 2001)
Memorial Tribute to Arthur Boyd: Bundanon Suite for Piano (première), Linda Kouvaras (Pno), Riverside Recital Hall, Bundanon, (Aug 1999)
Recital: Bundanon Suite for Piano, Linda Kouvaras (Pno), Australian Embassy, Russia (Dec 1999)
CD launch: Kouvaras PianoWorks: recital of original piano works, Linda Kouvaras (Pno), Ormond College, Melbourne (Oct 2000)
Melbourne International Festival of the Arts, Fringe: … to enter the dream that includes all dreams: Three Settings of Poetry by Chris Wallace-Crabbe: ‘Why Do We Exist?’ ‘The Well-Dreamed Man’ and ‘An Elegy’ (SATB Choir and Piano) (première), University Composition Choir, dir. and conductor, Hildy Essex, Melba Hall, Melbourne (Sept 2001)
Concert: … to enter the dream that includes all dreams: Three Settings of Poetry by Chris Wallace-Crabbe, Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Rhyss Boak (Pno) Ormond College Chapel, Melbourne (Nov 2001)
Perth New Music Week: Fragment of Gratification, Adam Pinto (Pno) (première) (Aug 2001)
National Festival of Women’s Music: ‘Lament for Helen’ (from Bundanon Suite for Piano), Stephanie MacCallum (Pno), Canberra (Sept 2001)
Violin & Piano Recital: The Sky is Melting (Bundanon), Marianne Rothschilds (vln) and Larissa Cox (Pno) (première), The Violineri, Richmond, Melbourne (Oct 2001)
Femmalé: ‘City Views from the 6th Floor, McCaughey Court’ (from The Ormond Collection), Sebastian Harris (Pno), Federation Hall, VCA, Melbourne (Oct 2001)
Musica Intima’s Inaugural Recital: Selections from Kouvaras PianoWorks,Linda Kouvaras (Pno), Rechabite Hall, Northcote, Melbourne (Oct 2001)
Port Fairy Festival: They (SATB Choir) (text by Chris Wallace-Crabbe), Australian Contemporary Chorale, dir. and conductor, Hildy Essex (7 Oct, 2002)
Concert: They (SATB Choir) (text by Chris Wallace-Crabbe), Australian Contemporary Chorale, dir. and conductor, Hildy Essex (première), Ormond College Chapel, Melbourne (May 2002)
Farewell Concert: Pressing the Flesh (Encore) For Piano Trio (première), Young Piano Trio, Melba Hall, University of Melbourne (April 2002)
Concert Tour: Pressing the Flesh (Encore), Young Piano Trio, Australian High Commission, Singapore and Kuala Lumpur; Customs House, Sydney (April–May 2002)
Concert of Australian Female Composers: I & II of Three St Kilda Sketches, Stephen Kerr (Pno), Ivanhoe Uniting Church, Melbourne (23 Nov, 2003)
Concert: … to enter the dream that includes all dreams: Three Settings of Poetry by Chris Wallace-Crabbe: ‘Why Do We Exist?’ ‘The Well-Dreamed Man’ and ‘An Elegy’ (SATB Choir and Piano), Dante’s, Fitzroy, Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Martin Strauss, (Pno) (27 Oct 2003)
Concert: Teddy Bears’ Picnic (SATB Choir and piano), (première), Dante’s, Fitzroy, Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Martin Strauss (Pno)) (27 Oct 2003)
Musica Intima: ‘Art & Life’: Recital of original songs and solo piano works, Linda Kouvaras (Pno), Vivien Hamilton (Sop), Rechabite Hall, Northcote, Melbourne (20 Sept 2003)
Port Fairy Festival: Inflight! (SATB Choir and electric bass) (première), Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Port Fairy, Victoria (9 Oct, 2004)
Concert: Inflight! (SATB Choir and electric bass), Ormond College Chapel, Melb. (26 Oct, 2004)
Modern Miniatures: The Sixth Day of Christmas (SATB Choir) (première), Dusk (SATB Choir), Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Shenstone, Merricks North, Vic. (26 Nov, 2006)
Concert: The Sixth Day of Christmas (SATB Choir), Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Federation Square (5 & 12 Dec, 2006)
Lecture-Recital, Western classical piano repertoire and original compositions, Linda Kouvaras (Pno), Ithaca Cultural Society, Greece (7 July 2006)
The Heart Speaks: Dusk (SATB Choir) (première), Australian Contemporary Chorale, dir. and conductor, Hildy Essex, Trinity College, The University of Melbourne (9 Oct, 2006); Melba Festival:The Chapel at Stones of the Yarra Valley (25 Mar 2007)
The Ern Malley Project: Baroque Exterior (première), curated by Joahnna Selleck, Simon Meadows (Baritone), Dean Sky-Lucas (Piano), Harvey Mitchell's Residence, Castlemaine Festival (7 April 2007) http://www.castlemainefestival.com.au/07/ernmalley.html
Merlyn Quaife Farewell Recital: ‘An Elegy’, Quaife (Sop), Andrea Katz (Pno), Melba Hall, The University of Melbourne, (27 Oct 2007)
Recordings of performances
Kouvaras, L. Loners by Clinton Small. Original violin material. E.P. record. Melbourne: Au-Go-Go (1985).
Kouvaras, L. Callabonna, for solo piano, by Peter Sculthorpe. Peter Sculthorpe: Piano Music Melbourne: Move Records MD 3031 (1989).
Kouvaras, L. et al. Tone, Touch and Technique, Educational Video Recordings (two volumes), for beginners and for advanced pianists (1989).
Kouvaras, L. The Lover and the Nightingale and Danza, by Granados; In the Silence of Night by Brenton Broadstock. Team of Pianists, Hamilton, Melbourne: Move Records MCD 042 (1990).
Kouvaras, L. Bach Preludes. ABC recording to accompany The Children’s Bach. ABC RN. IBSN 0 642 55514 1 (1998).
Kouvaras, L. In the Silence of Night, for solopiano, by Brenton Broadstock. ‘Bright Tracks’ Melbourne: Move Records MD 3204 (1998).
CD liner notes
Kouvaras, L. Greenbaum Hindson Peterson. Liner Notes. Melbourne: CD Project Recordings (1995).
Kouvaras, L. ‘Brenton Broadstock: Composing Freedom’. Liner Notes. Bright Tracks(Chamber Music of Brenton Broadstock)’. Melbourne: Move Records MD 3204 (1998).
Kouvaras, L. Liner Notes for Speed (by Matthew Hindson). ABC Classics 465 432-2 (2000).
Kouvaras, L. ‘The Symphonies of Brenton Broadstock’. Liner Notes for Good Angels’ Tears: Journeys through Light and Dark (Brenton Broadstock’s Symphonies 1-5).Amsterdam / London: Etcetera Label, KTC 2026 (2000). (international distribution).
Kouvaras, L. Liner Notes for Mozart. Melbourne: Move Records MD 3246 (2001).
Kouvaras, L. ‘GiantsintheLand’. Liner Notes. Giants in the Land. Melbourne: Move Records MD 3239 (2002).
Kouvaras, L. ‘Secrets of the Amphitheatre’, for solo piano. Liner Notes. Ian Holtham,Giants in the Land. Melbourne: Move Records MD 3239 (2002).
Kouvaras, L. ‘Dying of the Light’. Liner Notes. Giants in the Land. Melbourne: Melbourne: Move Records MD 3239 (2002).
Kouvaras, L. ‘Musical “Rooms of Wonder”: Transition and Transcendence in Works of Brenton Broadstock’. Liner Notes for Brenton Broadstock: Timeless. ABC Classics 476 8041 (2005).
Kouvaras, L. ‘Matthew Hindson’s SPEED’. Program notes. MSO Myer Bowl Concert, Feb. 2005.
Kouvaras, L. ‘Souls of Fire and theMourning of Loss: Katy Abbott’s First Symphony’. Liner Notes. ERM Media, 2007 (international distribution). [in-press]
Other professional activities
Editor
Kouvaras, L., Laidlaw, Z., & Cordinor, T. Senior Eds. Ormond Papers XI (1994).
Kouvaras, L., Hair, G., & Lee Martin, R. Eds. Loose Canons: Papers from the 2001 National Festival of Women’s Music. Canberra: Southern Voices, 2004. ISBN 1876463325.
Kouvaras, L., Hair, G., & Lee Martin, R. Eds. Current Issues in Music. Vol. 1. Canberra: Southern Voices, 2007. ISSN: 1447 – 7939.
Select reviews & citations (of publications, recordings & performances)
Ballantine, C. Review of liner notes, ‘Good Angel’s Tears’. International Record Review, Dec (2000).
Blom, D. ‘“Minimalism isn’t dead … it just smells funny”: phases in the Australian experience of minimal music’. Minimalism — Architecture, Art, Performance Conference, Artspace and the University of Technology, 3 July, 1999.
Carrigan, J. ‘Kouvaras, Linda’. Australian Solo Piano Works of the Last Twenty-Five Years. Sydney: AMC, 3rd edition, 2004: 168–69.
Chalker, D. ‘Introduction’. Being at Bundanon: A Travelling Exhibition. Cambewarra, NSW: Bundanon Trust, 2005: 2–3.
Copas, C. ‘Review of Kouvaras: PianoWorks’. The Star
Crotty, J, ‘Kouvaras shows off her other skill’. Review of Musica Intima: ‘Art & Life’: Recital of original songs and solo piano works. The Age, A3, 12, 24.ix.2003
Gall, J. ‘Review of paper, “Taking Her Breath Away”, Loose Canons Conference 2001’.Muse — Canberra’s Arts Monthly
Gittins, B. ‘Stations’. (Review of to enter the dream…). On Fire, 22 July, 2006: 15.
Giuffre, L. ‘Conference Report: SIMS 2004, Melbourne’. (Review of paper, ‘Only Women Bleed’. Soundings.Oct (2004): 3.
Hannan, M., and Warren B. "Why Don't Australian Musicologists Write About Australian Music, and What Can We Do About It?" New Music Australia. The Composer Speaks, I. Ed. Graeme Skinner. Sydney: Sounds Australian, 1992.
Hebden, B. ‘Review of Kouvaras: PianoWorks’. Sunday Mail.
Melbourne Improvisers’ Association. ‘Discussion: Music Improvisation’. Macarthur, S. Ed.The Composer Speaks, III: Proceedings, New Music Australia Conference 1992. Sydney: AMC (1998): 91–98.
N.a. ‘Linda Kouvaras’. Women Composers, Kapralova Society.
N.a. ‘Review of Kouvaras: PianoWorks’. New Classics modern.
N.a. Review of liner notes, ‘Brenton Broadstock: Composing Freedom’. Records International Catalogue, Dec 2001
N.a. Women Composers: Overview of Countries.
N.a. ‘Review of Kouvaras: PianoWorks’. New Classics: Modern, Amazon.co.uk.
N.a. ‘Review of Kouvaras: PianoWorks’. New Classics: Amazon.com
N.a. ‘Review of Kouvaras: PianoWorks’. Association of Independent Record Labels
N.a. ‘Review of Kouvaras: PianoWorks’. Records International Catalogue December 2001
Nightingale, J. ‘Australian Saxophone Repertoire: The Well-Known Composers’. Citation of my Liner Notes for Greenbaum, Peterson, Hindson and Broadstock recordings.Australian Clarinet and Saxophone. Vol. 2. No. 3 (1998): 26–28.
Radic, T.‘Surveying Australian Music’. (Review of chapter, ‘Australian Composition Since 1970’.) Centre for Studies in Australian Music Review. U of M. No. 11. June (2000): 3-4.
Scarlett, E. ‘Review of Kouvaras: PianoWorks’. ArtStream. Nov-Dec. (2000): 24.
Sonus Lab, Noosa Community Radio 101.3 FM. Radio Station of the Year for 2007:Influences.
Spencer, C., Nowara, Z., & McHenry, P., compilers. ‘Kouvaras’; ‘Voxpop’. Who’s Who of Australian Rock! Melbourne: Five Mile P, 2002.
Strahle, G. ‘Review of Kouvaras: PianoWorks’. MCA Music Forum 7/5, June-July 2001 Tamvakos, Thomas. ‘Linda Kouvaras’. Jazz & Tzaz. 115. Oct (2002): 41.
Throsby, M. ‘Review of Kouvaras: PianoWorks’. ABC-FM radio, New Releases, Nov 2000.
Willis, J. ‘The Sound of Music at 780: Kouvaras’s “Lament for Helen”’. ALIA National Library and Information Technicians Conference 2007, Melb. (12 Oct 2007)
Watt, J. Ern Malley Gets Musical: From Literary Hoax to Musical Journey. ABC Radio, Castlemaine State Festival. 3 April 2007.
Postgraduate supervision
Current postgraduate research includes:
- The Marches of John Philip Sousa
- Theodore Adorno Reconsidered
- Popular Music and the Female Singer/Songwriter: (Re)-Negotiating Female Empowerment
Completed graduate research projects include:
- ‘Contemporary Attitudes to the Performance of Baroque Music: A Synthesis and Personal Application’, Genevieve Lacey (DMA) (the first to be awarded the Degree)
- ‘From Celibidache to Debussy: Phenomenological Reflections on Music and Meaning’, Mark McGee (DMA)
- ‘Virtuosity in Fanny Hensel’s Piano Trio in D minor Op. 11’, Anna Goldsworthy (DMA)
- ‘Alfred Schnittke’s String Quartets Nos 3 & 4 and Sofia Gubaidulina’s String Quartets Nos 2 & 3: Context and Analysis’, Kheng Koay (PhD, Musicology)
- ‘Composing Biographies of Four Australian Women [Margaret Sutherland, Ann Carr-Boyd, Elena Kats-Chernin and Katy Abbott]: Motherhood, Marriage and Music’, Jillian Graham (PhD, Musicology)
- ‘Arvo Pärt’s Te Deum: A Compositional Watershed’, Stuart Greenbaum (PhD, Composition) (the first to be awarded the Degree)
- ‘The Issue of Time in Toru Takemitsu’s Quatrain II’, Ada Lai (PhD, Composition)
- ‘Analysis of Keith Humble’s Piano Sonatas’, Martin Greet (PhD, Composition)
- ‘Berlayar ke Mata Hari (Set Sail to the Sun)’, Robert Casteels (PhD, Composition)
- ‘[Exegesis:] Aspects of Vocal Writing: A Composer’s Perspective’, Katy Abbott (PhD, Composition)
- ‘[Exegesis:] The Morphogenesis of Meaning’, Chris Dench (PhD, Composition)
- ‘[Exegesis:] Sequi: The Process’, Mary Finsterer (PhD, Composition) (the first to be awarded the Degree with exegetical component)
- ‘Gendering Opera: Elena Kats-Chernin’s Iphis (1997) and Matricide: the Musical (1998)’, Emily Wilbourne (MMus, Musicology)
- ‘[Matthew Hindson:] An “Enfant Terrible” in the Concert Hall’, Hildy Essex (MMus, Musicology)
- ‘[On Andrée Greenwell’s Laquiem] ‘Beyond the Pale: When Abject Woman Wilts the White Picket Fence’, Susan Bracewell (MMus Studs, Musicology)
- ‘Aspects of Gendered Subjectivity in Recorded Interpretations of the Title Character in Alban Berg’s Lulu’, Meagan Gaffney-Ward (MMus, Minor Thesis)
