'Four Dragons in Flight' is a five-minute work for recorder quartet. This piece extends the practice and presence of the recorder quartet in Australia and Internationally and asks: How can four recorder voices relate to one another evoking a sense of flight and fantasy? This work expands the modes and forms of recorder composition by blending Baroque triadic sonorities with contemporary contrapuntal techniques that layer the four recorder voices. The quartet line-up uses an innovative blend of lower recorder voices moving away from dominant quartet voicings that showcase the treble recorder. The work offers an expansion of the recorder quartet by drawing on multi-modal harmonies which connect with a resurgence of public interest in fantasy themes. The work encourages the four players to consider solo and ensemble gestures and in particular the challenging technique of blending low register sounds in the recorder which create a breathy, wide timbre. This is a technique rarely utilised in the recorder quartet.

'Street Notes' was a two-week outdoor and livestreamed classical music festival in Western Sydney. Six mini concerts of music ranging from the Baroque period to 2021 were presented to the public to invigorate and alter public spaces with sound. The project asked: how can classical music be used to invigorate and alter public spaces emerging from COVID lockdowns in 2020. The curatorship of the project brought together eight emerging composers and performers of classical music. The artists were guided through rehearsal and repertoire choice by the artistic director. This was the first-time unrelated repertoire by women composers, composers-of-colour and new world premieres was performed in an outdoor festival in Western Sydney. The artistic director visited the locations and worked with the performers to choose appropriate repertoire for each location creating bespoke concerts for the public demonstrating a new curatorial methodology. The project blended aspects of and considered formal music performance, busking as well as the nature of fixed and transient audiences of classical music.

Constellations is a 3.5-minute musical work for solo toy piano and toy percussion performed by one player. The work explores how the sound of the toy piano can be combined and blended with other toy timbres to enhance and expand the sonorities of the instruments. This work is part of a growing interest in expanding the limits of composing for the toy piano by involving additional elements, especially experimental components. While dominant processes of composition for instruments is commonly connected to carefully crafted formal instruments, this work is innovative by using all instruments sold as toys for children which are then used as objects of formal art practice. The conceptual approach to sound and music in this work draws on reproduction of constellations and the 'sound' of the stars. This connects with a history of philosophy which considered the "harmony of the spheres" and sounds available from considering the ratio and placement of the stars in the sky (Cavarero, 2005).

'Chop Chef' is a two act 80-minute live opera that explores themes of capitalism, consumption and Australian identity. This work contributes significantly to the role, presence, and validity of contemporary opera. Chop Chef responds to and parodies traditional operatic tropes. These include orientalism, the misogynistic representation of women, and the dramatic function of death. The show purposefully clashes themes of high and low culture in both its musical and lyrical content presenting contemporary language through operatic formalism. The underlying character narratives becomes a metaphor for the quest for success in a capitalist environment as each contestant is forced to reckon with the limits of their own identity and pursuits in a public setting.

The Real Me is a 22-minute one act chamber opera for five voices, piano, clarinet, cello, and percussion. The opera responds to and take inspiration from reality television socialite culture and in particular the idea of the 'reunion' where cast members are forced to debate and navigate months of personal relationships. The work asks: how can contemporary opera draw on popular contemporary forms to inform its construction and aesthetic. This work expands the traditional form of opera through its musical and lyrical content. The lyrical content draws on the dichotomy of 'real' and 'fake' in the socialite television universe. All characters are questioned regarding their motives, actions and emotions. Through singing, the characters reveal their inner selves while also performing a desired persona in front of the camera. The music is part of this process in the work as well, moving between highly organised, rhythmic moments, with gentle moments performed out of time suggesting a spectrum of produced and unproduced moments. In this way the ideas and traditional structures of opera (recitative and aria) are extended and developed through 21st century media forms.