The School of Music – A Connected Place

What we are

We are an innovative, relevant and sector‑leading twenty‑first‑century (C21st) Music School, focusing on:

• Contemporary Music Composition, Film & Video Game Music 

• Recording and Sound Production 

• Performance, with a breadth of styles, cultural immersions and experiences 

• Indigenous Music 

• Music, Health and Wellbeing

All of our educational programs, courses, research and initiatives stream from these areas.

We are a School within a world‑leading, multicultural University, and aspects of conservatorium studies are embedded within our wider twenty‑first‑century musical and cultural programs.

The teaching and research activities of the School align with, respond to and contribute to contemporary disciplinary shifts, technological innovations, cultural obligations and developments, and re‑invigorated traditions. Together, these generate new understandings of the role of music in today’s world.

What students can expect

• Traditions holding hands with provocations 

• Collaborations across technologies, arts and music cultures 

• To develop and to change 

• Enjoyment, and to feel good!

The School mantra aligns with the James Brown song I Feel Good — and it does indeed!

We are committed to ensuring that all students develop both creatively and technically, and we value the universalising environment offered by the wider University experience. Around 55% of students study a double degree — music plus one other discipline — made possible through ANU’s flexible degree structures.

Majors

Program majors include:

• Bachelor of Music (Music Practice) 
– Performance discipline, or
– Composition and film/video game music discipline, or 
– A hybrid of the above two

• Bachelor of Music (Contemporary Music Production) 
– Recording and production discipline, or 
– Composition and film/video game music discipline, or 
– A hybrid of the above two

• Bachelor of Arts (Music Studies)

This suite of majors offers a broad range of undergraduate degree pathways. The BMus options are underpinned by up‑to‑date, enabling and rigorous approaches to aural and theory, popular musicology, ethnomusicology and cultural immersions, key topics in music history since 1900, the study of DAWs and other music technologies, integrated music skills, and more.

Students build their major over the course of their degree to suit their developing interests and aspirations. Flexibility is key — students are not required to commit to a major at the outset, before experiencing the opportunities offered in first year.

Performance

In the performance discipline, students may focus on jazz, classical, contemporary, or almost anything in between. The School advocates and builds on the position that all music styles are equal in the twenty‑first century — the “here and now” — and no musical practice is set as a benchmark above any other.

In 2026 we are glad to highlight that there is more performance activity in the School than in the past 15 years. These include five classical ensembles, choir, orchestra, the cultural‑crossover Songroads ensemble, the handbell ensemble, the gamelan ensemble, the African marimba ensemble, seven contemporary and jazz ensembles, and big band, amongst others. Instrumental and vocal line‑ups are always changing, offering flexible, relevant and professional ensemble development skills and immersive experiences. Performance courses include ensembles, core vocal and instrumental classes, key performance lectures and one‑on‑one tuition.

Other study options

• Honours 

• MPhil 

• PhD

Aural and Theory

Our new aural and theory courses represent a significant departure from most courses in this space and enable the modern musician. We start with John Cage’s 1958 theory of the components of sound — relevant to performers, composers and recording engineers alike. From Cage we look back to Bach, and from there forwards to the Beatles and well beyond, including into the recording studio.

We embrace current visual representations of sound — not Western notation alone, but also the visual environment of DAWs, as expected by industry. We engage aural traditions and music theories of non‑Western cultures through practical, embodied approaches, enhancing ear development. Options may include Balinese gamelan, West African percussion and more.

Expectations of in‑depth harmony skills remain and are achieved through guided embodied practice and creative work, effectively enabling all who undertake the courses.

Staff

School of Music staff contribute to the life of music and culture in the ACT and the nation through regular industry engagements in performance, composition, teaching, producing, advising, listening, serving on panels and supporting the sector, as well as through community consultation. Recently staff have worked with:

• Canberra Symphony Orchestra (CSO) 

• Addi Sounds Community Recording Studio, Addi Road, Marrickville 

• Ngarra Burria First Peoples Composers Program 

• National Folk Festival (NFF) 

• Magoo, producer for Midnight Oil 

• ANAM 

• Canberra International Music Festival (CIMF) 

• Leading Australian jazz musicians 

• Creative Australia 

• Sydney Symphony Orchestra (SSO) 

• Balmain Sinfonia 

• Smith’s Alternative and Molly’s 

• Melbourne Symphony Orchestra (MSO)

We are enjoying our leading role in sector building. In 2026 we are thrilled that luminaries such as Scott Saunders (DIG) and Eugene Ughetti (Speak Percussion, MSO soloist and conductor) have joined the staff team. Another recent staff member, Jodie Blackshaw (who, along with Elena Kats‑Chernin, is Australia’s most performed female composer), is enjoying buoyant full classes as students respond to her positive energy, impeccable musicianship and pedagogy.

Ours is a spirit of passion for music and culture, love of creative engagement and collaboration, willingness in service, and joy and lightness of mind through it all.

Staff highlight

Professor Ken Lampl — film composer for Monument, now in festivals and cinemas in the USA.

See the Monument trailer.

Our obligations to Australian communities

On any day at the School, various Indigenous music initiatives unfold. In recent years we have had approximately 150 Indigenous musicians studying, recording or working with us — from single‑day to one‑week workshops, through to full undergraduate degrees and PhDs. Indigenous culture and music are a valuable centrepiece of the School.

Among PhD and MPhil students, approximately 50% are from Australian Indigenous, African, Iranian or other non‑Western backgrounds, some of whom also teach into the programs. This rich meeting place of cultures and music practices has significantly redefined the School over the last 15 years.

We aim to meet our obligations to: 

• Indigenous peoples 

• Near‑Pacific neighbours 

• Under‑represented peoples from contemporary multicultural Australia

We strategise to raise enrolments in each of these cohorts, with support of leading staff from major music organisations nationwide. 

Facilities

The School’s programs are supported by well‑used performance venues including Llewellyn Hall, the Larry Sitsky Recital Room, percussion performance space, the Big Band Room, recording studios, mixing suites, keyboards and film composition lab, lecture rooms, rare keyboard instrument collection rooms, the School café, and the wider University’s spaces.

These facilities also support strategic partnerships with major cultural events and organisations such as the Canberra International Music Festival, the National Folk Festival and the Canberra Symphony Orchestra.

Access – Getting in

Access for domestic undergraduate students is via the UAC application portal or the early‑offer system.

School leavers are expected to have an ATAR of 70 plus a portfolio submission (performance, composition or recording), or an ATAR of 80 without portfolio. For enrolment into the performance discipline of the Music Practice major, applicants are expected to demonstrate vocal or instrumental experience through maintained music practice (see Fit to Perform MUSI1115).

CIT music diploma holders are also eligible for entry.

Higher degree access (MPhil and PhD) is based on previous study and/or work and life experience.

We encourage all interested applicants to make contact, discuss aspirations and raise questions in the months before applications close.

Today

At this point in the School’s 60+ year history, timely change is shaping us. We are excited and unapologetic as we embrace the evolving needs of the music industry and wider Australian communities.

Today, more than ever, we have engaged some of the finest music staff in the country, and we are well placed to deliver high‑quality and relevant programs tailored for students of the current era and the future.

Welcome to your C21st Music School