Media
November 2017
inAeternum: The Queen's College and Wyvern Society magazine
Article: An expressive body of music: The expressive aspects of playing the flute
Simone Maurer:
My doctoral research aims to understand how and why flautists move their body when performing, and which movements are perceived as expressive by audiences. This has a dual aim – not only will this study contribute to the growing field of kinesis research, it will also inform artistic practice. I am, in fact, creating a performance portfolio of solo flute recordings, recording repertoire which incorporates composer-instructed body movements or stage directions, featuring the music of Karlheinz Stockhausen (1928-2007). In the final year of my PhD I envisage collaborating with composers to write new solo flute music with choreographed body movements.
Live musical performances are judged not just by the sounds which are heard, but also by what is seen on stage. Imagine sitting in a pitch-black concert hall listening to a solo piano recital. You would form your judgement of whether you liked the performance based primarily on what you heard. Now imagine the stage lights turn on halfway through the concert and you can see the pianist. Your visual bias would start to influence whether you liked the performance or not. This perceptual bias is also present in other experiences, such as the way taste is affected by presentation of food (a frequently debated topic between low and high table diners in Eakins hall). Visual bias in musical performance is also embedded into our language. How often does one say, “I'm hearing the orchestra tonight at Hamer Hall”? We are more inclined to say, “I'm seeing” or “I'm watching”. These experiences, examined in music psychology research, coupled with my artistic interest in combining movement and music, have formed the inspiration for my doctoral study.
I do not believe all music should be choreographed, particularly music that has already been composed without movement. However, I see an opportunity to explore movement and stillness in contemporary flute playing to enhance storytelling of the
music. I anticipate my research outcomes and performances will inspire flautists, other musicians, and composers to develop new ways of communicating and connecting with audiences through movement.
When I perform, I also experience the physical essence of playing music; the tingling sensation of a violin resonating between my chin and shoulder, the power and control of my lungs to turn an inhaled breath into a carefully crafted air-stream rushing through my lips into my flute, or the exhilaration of hammering out some Rachmaninov on a concert-sized grand piano. These are feelings I wish everyone could experience – without the necessary years of training. Perhaps someday technology will enable a virtual transfer of these experiences between people. Until then, I will explore whether externally representing these internal sensations through combining music and movement will create a closer shared experience with audiences.
inAeternum: The Queen's College and Wyvern Society magazine
Article: An expressive body of music: The expressive aspects of playing the flute
Simone Maurer:
My doctoral research aims to understand how and why flautists move their body when performing, and which movements are perceived as expressive by audiences. This has a dual aim – not only will this study contribute to the growing field of kinesis research, it will also inform artistic practice. I am, in fact, creating a performance portfolio of solo flute recordings, recording repertoire which incorporates composer-instructed body movements or stage directions, featuring the music of Karlheinz Stockhausen (1928-2007). In the final year of my PhD I envisage collaborating with composers to write new solo flute music with choreographed body movements.
Live musical performances are judged not just by the sounds which are heard, but also by what is seen on stage. Imagine sitting in a pitch-black concert hall listening to a solo piano recital. You would form your judgement of whether you liked the performance based primarily on what you heard. Now imagine the stage lights turn on halfway through the concert and you can see the pianist. Your visual bias would start to influence whether you liked the performance or not. This perceptual bias is also present in other experiences, such as the way taste is affected by presentation of food (a frequently debated topic between low and high table diners in Eakins hall). Visual bias in musical performance is also embedded into our language. How often does one say, “I'm hearing the orchestra tonight at Hamer Hall”? We are more inclined to say, “I'm seeing” or “I'm watching”. These experiences, examined in music psychology research, coupled with my artistic interest in combining movement and music, have formed the inspiration for my doctoral study.
I do not believe all music should be choreographed, particularly music that has already been composed without movement. However, I see an opportunity to explore movement and stillness in contemporary flute playing to enhance storytelling of the
music. I anticipate my research outcomes and performances will inspire flautists, other musicians, and composers to develop new ways of communicating and connecting with audiences through movement.
When I perform, I also experience the physical essence of playing music; the tingling sensation of a violin resonating between my chin and shoulder, the power and control of my lungs to turn an inhaled breath into a carefully crafted air-stream rushing through my lips into my flute, or the exhilaration of hammering out some Rachmaninov on a concert-sized grand piano. These are feelings I wish everyone could experience – without the necessary years of training. Perhaps someday technology will enable a virtual transfer of these experiences between people. Until then, I will explore whether externally representing these internal sensations through combining music and movement will create a closer shared experience with audiences.
7th November, 2017
Australian Government Department of Education and Training
Outcomes of the 2018 RoundThe Minister for Education and Training the Hon. Simon Birmingham announced on 7 November that 698 recipients have been offered a 2018 Endeavour scholarship or fellowship.
Simone Maurer received one of 22 Endeavour Postgraduate Scholarships available.
Australian Government Department of Education and Training
Outcomes of the 2018 RoundThe Minister for Education and Training the Hon. Simon Birmingham announced on 7 November that 698 recipients have been offered a 2018 Endeavour scholarship or fellowship.
Simone Maurer received one of 22 Endeavour Postgraduate Scholarships available.
4th November, 2017
The Flautist: Official Journal of the Victorian Flute Guild Inc.
Volume 48, No. 4 ISSN 2208-4851
Review: Leslie Barklamb Scholarship, 2017
Johanna Selleck:
Second place in the Senior Section fell to Simone Maurer for her performance of the third movement of Concerto No 7 in E minor [by Devienne] and the Sonatina by Burton. In the opinion of this writer, Simone possesses qualities that are truly unique, most notably her ability to communicate naturally and directly with the audience in a way that forfeits the ego of the performer and transcends well beyond technical facility (which she possesses in abundance) into a realm of great artistry. She also has the rare gift of being able to perform from memory without leaving her audience waiting with underlying apprehension that there might be a memory lapse; such was the confidence and flow of her delivery. Her performance was mesmerising.
The Flautist: Official Journal of the Victorian Flute Guild Inc.
Volume 48, No. 4 ISSN 2208-4851
Review: Leslie Barklamb Scholarship, 2017
Johanna Selleck:
Second place in the Senior Section fell to Simone Maurer for her performance of the third movement of Concerto No 7 in E minor [by Devienne] and the Sonatina by Burton. In the opinion of this writer, Simone possesses qualities that are truly unique, most notably her ability to communicate naturally and directly with the audience in a way that forfeits the ego of the performer and transcends well beyond technical facility (which she possesses in abundance) into a realm of great artistry. She also has the rare gift of being able to perform from memory without leaving her audience waiting with underlying apprehension that there might be a memory lapse; such was the confidence and flow of her delivery. Her performance was mesmerising.
21 January, 2015
The Cambridge Student
Review: Howard Shelley conducts Dvorak and Brahms
Benedict Kearns:
This concert had huge amounts of promise, with a both demanding and rewarding programme; it mostly delivered. Cambridge University Chamber Orchestra (CUCO) in addition to members of CUMS Symphony Orchestra opened the concert with verve in Dvorak’s Symphony No. 8. The opening cello melody resonated gloriously in the beautiful acoustic of King’s College Chapel and despite the space being infamously difficult, Howard Shelley made fast tempi work admirably well throughout this concert. The second movement showed off the woodwinds’ generally tight tuning and special mention should go to flautist, Simone Maurer, who performed exceptionally. There was something slightly lacking in the Dvorak, even Shelley’s upbeat speeds could not quite hide the occasional feeling of lacklustre in the long spanning phrases. Also, in more than a handful of occasions, initial speeds felt uncomfortable and it took a number of bars for the music to settle; perhaps a product of the difficult acoustical conditions.
This being said, the Dvorak was well-received by the audience (who incidentally and wonderfully filled the Chapel to maximum capacity) and the Brahms was awaited with great anticipation. A work of epic proportions had a chorus to match; the combined forces of Gonville & Caius, Clare, Jesus and Selwyn Colleges filled the width of the Chapel with at least five rows and were a force with which to be reckoned. Call me cynical, but I go to concerts with choruses and invariably expect for the orchestra to be too loud, the chorus to look miserable as sin and words to be completely inaudible. Wonderfully refreshingly, this was not the case. Tim Brown’s (chorus master) monumental round of applause was thoroughly deserved; every word was clearly audible, they sang with passion and vibrancy, and their coordination with the orchestra was excellent. As in the Dvorak, the violins were lacking presence in the sound and were at times lost altogether. The timpanist was clearly enjoying himself, often too much.
Jonathan Sells (baritone solo) was sadly drowned out by the orchestra; he is an artist more at home in art song than large-scale Romantic repertoire and this was clear. I was fortunate enough to be sitting very close to him and was just about able to discern the nuance which he brought to the music, however, beyond the eighth row of seating his sound vanished in the orchestra’s volume. Rolfe Johnson soared beautifully above the orchestra; not competing for volume, but finding a way through the orchestra’s sound which could be heard by everyone.
The concert was well delivered and Shelley dealt spectacularly with the acoustic, maximising it for its soft-focus, whilst simultaneously allowing the smallest details to come through.
The Cambridge Student
Review: Howard Shelley conducts Dvorak and Brahms
Benedict Kearns:
This concert had huge amounts of promise, with a both demanding and rewarding programme; it mostly delivered. Cambridge University Chamber Orchestra (CUCO) in addition to members of CUMS Symphony Orchestra opened the concert with verve in Dvorak’s Symphony No. 8. The opening cello melody resonated gloriously in the beautiful acoustic of King’s College Chapel and despite the space being infamously difficult, Howard Shelley made fast tempi work admirably well throughout this concert. The second movement showed off the woodwinds’ generally tight tuning and special mention should go to flautist, Simone Maurer, who performed exceptionally. There was something slightly lacking in the Dvorak, even Shelley’s upbeat speeds could not quite hide the occasional feeling of lacklustre in the long spanning phrases. Also, in more than a handful of occasions, initial speeds felt uncomfortable and it took a number of bars for the music to settle; perhaps a product of the difficult acoustical conditions.
This being said, the Dvorak was well-received by the audience (who incidentally and wonderfully filled the Chapel to maximum capacity) and the Brahms was awaited with great anticipation. A work of epic proportions had a chorus to match; the combined forces of Gonville & Caius, Clare, Jesus and Selwyn Colleges filled the width of the Chapel with at least five rows and were a force with which to be reckoned. Call me cynical, but I go to concerts with choruses and invariably expect for the orchestra to be too loud, the chorus to look miserable as sin and words to be completely inaudible. Wonderfully refreshingly, this was not the case. Tim Brown’s (chorus master) monumental round of applause was thoroughly deserved; every word was clearly audible, they sang with passion and vibrancy, and their coordination with the orchestra was excellent. As in the Dvorak, the violins were lacking presence in the sound and were at times lost altogether. The timpanist was clearly enjoying himself, often too much.
Jonathan Sells (baritone solo) was sadly drowned out by the orchestra; he is an artist more at home in art song than large-scale Romantic repertoire and this was clear. I was fortunate enough to be sitting very close to him and was just about able to discern the nuance which he brought to the music, however, beyond the eighth row of seating his sound vanished in the orchestra’s volume. Rolfe Johnson soared beautifully above the orchestra; not competing for volume, but finding a way through the orchestra’s sound which could be heard by everyone.
The concert was well delivered and Shelley dealt spectacularly with the acoustic, maximising it for its soft-focus, whilst simultaneously allowing the smallest details to come through.
10 March, 2014
Daily Mercury
Musician on way to Cambridge
Lucy Martin:
Simone Maurer is heading to Cambridge University.
Ms Maurer, 21 will undertake a Master of Philosophy in Music Studies, specialising in music performance, at the prestigious university.
"The 12-month degree requires me to write a thesis and perform a one-hour public flute recital," Ms Maurer said.
"In conjunction with lectures at Cambridge University, I will receive flute training at the Royal Academy of Music in London."
Ms Maurer grew up in Mackay, but has lived in Brisbane for the past four years.
She began playing the piano at the age of five and began playing the flute at 10 and violin at 12.
"I knew in high school that I wanted to study music at a tertiary level," Ms Maurer said.
The flute and piccolo are her main instruments.
She performs as a soloist, chamber musician and in orchestras.
She tries to practise four hours a day.
Ms Maurer graduated from the Queensland Conservatorium of Music in December.
"I graduated with a Bachelor of Music majoring in advanced flute performance with first- class honours, the Griffith University Medal for academic excellence, the Music Medal for outstanding achievement in my Bachelor degree, and as a Griffith Honours College Scholar," she said.
Her advice to other budding musicians is to be enthusiastic.
"I believe a major influence on becoming a successful musician is your environment. Surround yourself with other inspiring musicians and share your enthusiasm and knowledge," Ms Maurer said.
Daily Mercury
Musician on way to Cambridge
Lucy Martin:
Simone Maurer is heading to Cambridge University.
Ms Maurer, 21 will undertake a Master of Philosophy in Music Studies, specialising in music performance, at the prestigious university.
"The 12-month degree requires me to write a thesis and perform a one-hour public flute recital," Ms Maurer said.
"In conjunction with lectures at Cambridge University, I will receive flute training at the Royal Academy of Music in London."
Ms Maurer grew up in Mackay, but has lived in Brisbane for the past four years.
She began playing the piano at the age of five and began playing the flute at 10 and violin at 12.
"I knew in high school that I wanted to study music at a tertiary level," Ms Maurer said.
The flute and piccolo are her main instruments.
She performs as a soloist, chamber musician and in orchestras.
She tries to practise four hours a day.
Ms Maurer graduated from the Queensland Conservatorium of Music in December.
"I graduated with a Bachelor of Music majoring in advanced flute performance with first- class honours, the Griffith University Medal for academic excellence, the Music Medal for outstanding achievement in my Bachelor degree, and as a Griffith Honours College Scholar," she said.
Her advice to other budding musicians is to be enthusiastic.
"I believe a major influence on becoming a successful musician is your environment. Surround yourself with other inspiring musicians and share your enthusiasm and knowledge," Ms Maurer said.
28 June, 2013
Daily Mercury
Former Mackay woman deft at flute
Carissa Pickering
Playing an instrument for 11 years may seem like a punishment of sorts for some.
But that's not the case for aspiring musician Simone Maurer.
The former Mackay North State High School student has always loved music and said she'd never felt like giving up her passion for flute and all things musical.
Flautist Simone Maurer has returned to Mackay to perform a concert on Sunday.
The flautist moved to Brisbane after winning a scholarship to the Queensland Conservatorium of Music, to pursue her dream of becoming a professional musician.
She arranged a small concert as a thank you to the community that supported her.
Five years on, Simone has come back to Mackay every year to perform.
The flautist will be playing in Mackay again on Sunday, accompanied by her first flute teacher Renae Covey.
"Renae was a huge inspiration to me," Simone said. "She helped me through all my exams and she herself is a fantastic player."
Simone was inspired to take up the flute by her mother, who played during high school and kept her old flute on top of the piano.
"It was kept in a box and we weren't allowed to touch it," she said.
After much nagging, Simone was able to strike up a deal with her mother. "If I could pick up the flute and make a sound straightaway, then I was allowed to play the flute." And she could.
Simone has spent numerous hours every day perfecting her skills since then, often waking up at 5am to practise. Simone also plays the violin and piano.
Daily Mercury
Former Mackay woman deft at flute
Carissa Pickering
Playing an instrument for 11 years may seem like a punishment of sorts for some.
But that's not the case for aspiring musician Simone Maurer.
The former Mackay North State High School student has always loved music and said she'd never felt like giving up her passion for flute and all things musical.
Flautist Simone Maurer has returned to Mackay to perform a concert on Sunday.
The flautist moved to Brisbane after winning a scholarship to the Queensland Conservatorium of Music, to pursue her dream of becoming a professional musician.
She arranged a small concert as a thank you to the community that supported her.
Five years on, Simone has come back to Mackay every year to perform.
The flautist will be playing in Mackay again on Sunday, accompanied by her first flute teacher Renae Covey.
"Renae was a huge inspiration to me," Simone said. "She helped me through all my exams and she herself is a fantastic player."
Simone was inspired to take up the flute by her mother, who played during high school and kept her old flute on top of the piano.
"It was kept in a box and we weren't allowed to touch it," she said.
After much nagging, Simone was able to strike up a deal with her mother. "If I could pick up the flute and make a sound straightaway, then I was allowed to play the flute." And she could.
Simone has spent numerous hours every day perfecting her skills since then, often waking up at 5am to practise. Simone also plays the violin and piano.
Issue #3 2012
QLD Flute Guild Keynotes Newsletter
James Carson Memorial Flute Competition
QLD Flute Guild Keynotes Newsletter
James Carson Memorial Flute Competition
January 2011
City Life Magazine - Mackay and the Whitsundays
Community Commitment
City Life Magazine - Mackay and the Whitsundays
Community Commitment
9 March, 2010
Mackay City Council News
Bursaries foster love of music and art
An aspiring musician and a budding artist have each received a career headstart courtesy of two study bursaries awarded by the Artspace Mackay Foundation and Mackay Entertainment & Convention Centre.
Maurer, recipient of the 2010 Jack Sturgeon Bursary, and Nicola Laidlow, inaugural winner of the Hands On Bursary, will be gifted $1000 each. Ms Maurer, who also won a 2010 Australia Day Award, recently commenced a Bachelor of Music degree through Griffith University’s Conservatorium of Music.
Mayor Col Meng said Ms Maurer was a “highly deserving” recipient of the Jack Sturgeon Bursary. “Simone has overcome adversity to attend university and will no doubt be as passionate about her studies as she has been in furthering her talent so far,” Cr Meng said. “She is an aspiring flautist and pianist and also a very passionate and selfless member of the community.”
Newly complementing the Jack Sturgeon Bursary, which rewards students of the performing arts, is the Hands On Bursary - an award for visual and creative artists in honour of celebrated local artist the late Rick Wood. Former Mirani State High School student and talented printmaking artist Nicola Laidlow won the bursary as recognition for her ongoing success and involvement in regional art programs. "Nicola is currently living in Brisbane, studying her way through a Bachelor of Fine Arts at Queensland University of Technology,” Cr Meng said. “She is a very creative and driven young lady, already with a number of awards to her name.” Ms Laidlow has twice won honours in Mackay Show Society’s prestigious ‘Art on Show’ competition, last year earning the 2009 Emerging Artists Award.
Cr Meng said both Nicola and Simone are shining examples of this region’s rich artistic community and it’s wonderful to see these bursaries going to such deserving winners. Both bursaries are decided by a panel of arts professionals from around the region based on applications and interviews.
Mackay City Council News
Bursaries foster love of music and art
An aspiring musician and a budding artist have each received a career headstart courtesy of two study bursaries awarded by the Artspace Mackay Foundation and Mackay Entertainment & Convention Centre.
Maurer, recipient of the 2010 Jack Sturgeon Bursary, and Nicola Laidlow, inaugural winner of the Hands On Bursary, will be gifted $1000 each. Ms Maurer, who also won a 2010 Australia Day Award, recently commenced a Bachelor of Music degree through Griffith University’s Conservatorium of Music.
Mayor Col Meng said Ms Maurer was a “highly deserving” recipient of the Jack Sturgeon Bursary. “Simone has overcome adversity to attend university and will no doubt be as passionate about her studies as she has been in furthering her talent so far,” Cr Meng said. “She is an aspiring flautist and pianist and also a very passionate and selfless member of the community.”
Newly complementing the Jack Sturgeon Bursary, which rewards students of the performing arts, is the Hands On Bursary - an award for visual and creative artists in honour of celebrated local artist the late Rick Wood. Former Mirani State High School student and talented printmaking artist Nicola Laidlow won the bursary as recognition for her ongoing success and involvement in regional art programs. "Nicola is currently living in Brisbane, studying her way through a Bachelor of Fine Arts at Queensland University of Technology,” Cr Meng said. “She is a very creative and driven young lady, already with a number of awards to her name.” Ms Laidlow has twice won honours in Mackay Show Society’s prestigious ‘Art on Show’ competition, last year earning the 2009 Emerging Artists Award.
Cr Meng said both Nicola and Simone are shining examples of this region’s rich artistic community and it’s wonderful to see these bursaries going to such deserving winners. Both bursaries are decided by a panel of arts professionals from around the region based on applications and interviews.
27 January, 2010
Mackay City Council News
Australia Day award winners
Cultural Award: Simone Maurer
Simone is an outstanding young musician who is extremely generous with her time and talents. She has been a strong supporter of Mackay community events over the last 11 years performing in musicals, eisteddfods and with singers and choirs at free concerts and ceremonies. Simone won the top cultural achievement award at the Mackay North State High School awards night highlighting her outstanding involvement in the school’s performing arts area and she has achieved qualifications in both flute and piano from the Australian Music Examinations Board. She plays flute, piccolo, piano, violin plus tuned and untuned percussion instruments and won numerous championships and awards at the Mackay eisteddfod. Simone has been accepted into the Queensland Conservatorium of Music and her goal is to play with the Queensland Orchestra.
Mackay City Council News
Australia Day award winners
Cultural Award: Simone Maurer
Simone is an outstanding young musician who is extremely generous with her time and talents. She has been a strong supporter of Mackay community events over the last 11 years performing in musicals, eisteddfods and with singers and choirs at free concerts and ceremonies. Simone won the top cultural achievement award at the Mackay North State High School awards night highlighting her outstanding involvement in the school’s performing arts area and she has achieved qualifications in both flute and piano from the Australian Music Examinations Board. She plays flute, piccolo, piano, violin plus tuned and untuned percussion instruments and won numerous championships and awards at the Mackay eisteddfod. Simone has been accepted into the Queensland Conservatorium of Music and her goal is to play with the Queensland Orchestra.