Anna Reid is Professor of Music at the University of Sydney and Dean of the Sydney Conservatorium of Music.Neal Peres Da Costa is Professor of Historical Performance and Associate Dean of Research at the Sydney Conservatorium of Music.Jeanell Carrigan is Associate Professor in Collaborative Piano at the Sydney Conservatorium of Music.

• PART 1: Informed Practice / 1. Life Informed Practice: Contemporary Considerations for Music Education (NEAL PERES DA COSTA) / 2. Life in Music (GENEVIEVE LACEY) / 3. Musical Past and Future Generations: A Message from Thailand (ANOTHAI NITIBHON) / 4. The Language of Nature: Adapting Sound to Sense in an Eighteenth-Century Cantata (ROBERT TOFT) / 5. Historically Informed Performance and Group-Learning Pedagogy in a Tertiary Music Ensemble (DANIEL YEADON) / 6. The Dowling Songbook Project: A Uniquely Australian Opportunity in HIP Learning (NEAL PERES DA COSTA, HELEN F. MITCHELL AND MATTHEW STEPHENS) / 7. A Homage to Pra Vishnukarma "Chang", the Forgotten Artist of Music Paradise, in Memory of Kru Wan Onchan (1920–1993), My First Music Teacher (ANANT NARKKONG) / 8. Falling Leaves and New Roots: Informed Practice Within the Sydney Conservatorium of Music’s Chinese Music Ensemble (CATHERINE INGRAM, LULU LIU AND NICHOLAS NG) / 9. Informing Practice Through Collaboration: Listening to Colonising Histories and Aboriginal Music (SHANNON FOSTER AND AMANDA HARRIS) / PART 2: Innovation / 10. Innovation (JEANELL CARRIGAN AND JEAN-DAVID CAILLOUËT) / 11. The Voices of South-East Asian Soundscapes: Migrating Through Musical Boundaries (JEAN-DAVID CAILLOUËT) / 12. How to Make a Woodblock Sing: Artistic Research as an Art of Attentiveness (LIZA LIM) / 13. Towards a Philosophical Understanding of Interpretative Artistic Performance: Musical Thinking, Innovation and Pedagogy (GOETZ RICHTER) / 14. Reinventing Expressive Traditions into Contemporary Artistic Expressions: A Philippine Experience (RAMON P. SANTOS) / 15. Remarks on Music in Indonesia: Dilemmas and Misunderstandings but also Challenges and Chances in an Emerging Country with a Multi-Ethnic Society (DIETER MACK) / 16. Seeking Innovation as Exploration of Aesthetic (JAMES HENRY BYRNE HUMBERSTONE) / PART 3: Transcendence / 17. Transcendence (ANNA REID AND ANOTHAI NITIBHON) / 18. Transcendent Innocence: Red-Riding-Hood Redeemed? (JOSEPH TOLTZ) / 19. You Gotta Have Faith: Trauma and Transcendence Through the Creation of a New Electronic Music Theatre Work (PAUL MAC) / 20. A Case Study of Performance Research—Bangsokol: A Requiem for Cambodia (HIM SOPHY AND PETER PETOCZ) / 21. Road, Pendulum and Coil (SIMON BARKER) / 22. At the Crossroads: Moments of Transcendence in Field Music Research (LAVERNE DAVID DE LA PEÑA)

Anna Reid is Professor of Music at the University of Sydney and Dean of the Sydney Conservatorium of Music.Neal Peres Da Costa is Professor of Historical Performance and Associate Dean of Research at the Sydney Conservatorium of Music.Jeanell Carrigan is Associate Professor in Collaborative Piano at the Sydney Conservatorium of Music.

• PART 1: Informed Practice / 1. Life Informed Practice: Contemporary Considerations for Music Education (NEAL PERES DA COSTA) / 2. Life in Music (GENEVIEVE LACEY) / 3. Musical Past and Future Generations: A Message from Thailand (ANOTHAI NITIBHON) / 4. The Language of Nature: Adapting Sound to Sense in an Eighteenth-Century Cantata (ROBERT TOFT) / 5. Historically Informed Performance and Group-Learning Pedagogy in a Tertiary Music Ensemble (DANIEL YEADON) / 6. The Dowling Songbook Project: A Uniquely Australian Opportunity in HIP Learning (NEAL PERES DA COSTA, HELEN F. MITCHELL AND MATTHEW STEPHENS) / 7. A Homage to Pra Vishnukarma "Chang", the Forgotten Artist of Music Paradise, in Memory of Kru Wan Onchan (1920–1993), My First Music Teacher (ANANT NARKKONG) / 8. Falling Leaves and New Roots: Informed Practice Within the Sydney Conservatorium of Music’s Chinese Music Ensemble (CATHERINE INGRAM, LULU LIU AND NICHOLAS NG) / 9. Informing Practice Through Collaboration: Listening to Colonising Histories and Aboriginal Music (SHANNON FOSTER AND AMANDA HARRIS) / PART 2: Innovation / 10. Innovation (JEANELL CARRIGAN AND JEAN-DAVID CAILLOUËT) / 11. The Voices of South-East Asian Soundscapes: Migrating Through Musical Boundaries (JEAN-DAVID CAILLOUËT) / 12. How to Make a Woodblock Sing: Artistic Research as an Art of Attentiveness (LIZA LIM) / 13. Towards a Philosophical Understanding of Interpretative Artistic Performance: Musical Thinking, Innovation and Pedagogy (GOETZ RICHTER) / 14. Reinventing Expressive Traditions into Contemporary Artistic Expressions: A Philippine Experience (RAMON P. SANTOS) / 15. Remarks on Music in Indonesia: Dilemmas and Misunderstandings but also Challenges and Chances in an Emerging Country with a Multi-Ethnic Society (DIETER MACK) / 16. Seeking Innovation as Exploration of Aesthetic (JAMES HENRY BYRNE HUMBERSTONE) / PART 3: Transcendence / 17. Transcendence (ANNA REID AND ANOTHAI NITIBHON) / 18. Transcendent Innocence: Red-Riding-Hood Redeemed? (JOSEPH TOLTZ) / 19. You Gotta Have Faith: Trauma and Transcendence Through the Creation of a New Electronic Music Theatre Work (PAUL MAC) / 20. A Case Study of Performance Research—Bangsokol: A Requiem for Cambodia (HIM SOPHY AND PETER PETOCZ) / 21. Road, Pendulum and Coil (SIMON BARKER) / 22. At the Crossroads: Moments of Transcendence in Field Music Research (LAVERNE DAVID DE LA PEÑA)

Anna Reid is Professor of Music at the University of Sydney and Dean of the Sydney Conservatorium of Music.Neal Peres Da Costa is Professor of Historical Performance and Associate Dean of Research at the Sydney Conservatorium of Music.Jeanell Carrigan is Associate Professor in Collaborative Piano at the Sydney Conservatorium of Music.

• PART 1: Informed Practice / 1. Life Informed Practice: Contemporary Considerations for Music Education (NEAL PERES DA COSTA) / 2. Life in Music (GENEVIEVE LACEY) / 3. Musical Past and Future Generations: A Message from Thailand (ANOTHAI NITIBHON) / 4. The Language of Nature: Adapting Sound to Sense in an Eighteenth-Century Cantata (ROBERT TOFT) / 5. Historically Informed Performance and Group-Learning Pedagogy in a Tertiary Music Ensemble (DANIEL YEADON) / 6. The Dowling Songbook Project: A Uniquely Australian Opportunity in HIP Learning (NEAL PERES DA COSTA, HELEN F. MITCHELL AND MATTHEW STEPHENS) / 7. A Homage to Pra Vishnukarma "Chang", the Forgotten Artist of Music Paradise, in Memory of Kru Wan Onchan (1920–1993), My First Music Teacher (ANANT NARKKONG) / 8. Falling Leaves and New Roots: Informed Practice Within the Sydney Conservatorium of Music’s Chinese Music Ensemble (CATHERINE INGRAM, LULU LIU AND NICHOLAS NG) / 9. Informing Practice Through Collaboration: Listening to Colonising Histories and Aboriginal Music (SHANNON FOSTER AND AMANDA HARRIS) / PART 2: Innovation / 10. Innovation (JEANELL CARRIGAN AND JEAN-DAVID CAILLOUËT) / 11. The Voices of South-East Asian Soundscapes: Migrating Through Musical Boundaries (JEAN-DAVID CAILLOUËT) / 12. How to Make a Woodblock Sing: Artistic Research as an Art of Attentiveness (LIZA LIM) / 13. Towards a Philosophical Understanding of Interpretative Artistic Performance: Musical Thinking, Innovation and Pedagogy (GOETZ RICHTER) / 14. Reinventing Expressive Traditions into Contemporary Artistic Expressions: A Philippine Experience (RAMON P. SANTOS) / 15. Remarks on Music in Indonesia: Dilemmas and Misunderstandings but also Challenges and Chances in an Emerging Country with a Multi-Ethnic Society (DIETER MACK) / 16. Seeking Innovation as Exploration of Aesthetic (JAMES HENRY BYRNE HUMBERSTONE) / PART 3: Transcendence / 17. Transcendence (ANNA REID AND ANOTHAI NITIBHON) / 18. Transcendent Innocence: Red-Riding-Hood Redeemed? (JOSEPH TOLTZ) / 19. You Gotta Have Faith: Trauma and Transcendence Through the Creation of a New Electronic Music Theatre Work (PAUL MAC) / 20. A Case Study of Performance Research—Bangsokol: A Requiem for Cambodia (HIM SOPHY AND PETER PETOCZ) / 21. Road, Pendulum and Coil (SIMON BARKER) / 22. At the Crossroads: Moments of Transcendence in Field Music Research (LAVERNE DAVID DE LA PEÑA)