Louise’s research areas include contemporary music performance practice, Australian music history, experimental and digital notations, post-instrumental practice and improvisation. Her creative and written research projects explore a number of these areas simultaneously. Louise’s writing on music is published widely in academic journals and she recently published her first monograph book Global Percussion Innovations: The Australian Perspective.


Devenish, L., (2019). Global Percussion Innovations: Australian Perspective, Routledge, United Kingdom


Devenish, L., James S., (2019). ‘Composer-performer collaboration in the development of Kinabuhi | Kamatayon for percussion and electronics’, Soundscripts (in press).

Devenish, L., (2017). ‘Contemporary percussion explorations in twenty-first century Australia’, Contemporary Music Review, 36/1-2: 1-4. ISSN 0749-4467.

Vickery, L., James, S., Devenish, L., (2017). ‘Expanded Percussion Notation in recent works by Stuart James and Lindsay Vickery’, Contemporary Music Review, 36/1-2: 15-35. ISSN 0749-4467.

Devenish, L. (2016). ‘Forty Years of Synergy Percussion’, Percussive Notes, USA, March 2016: 28-33.

Devenish, L., (2016). ‘The Rise of Contemporary Percussion in Western Australia with an Emphasis on Nova Ensemble’, Soundscripts, Vol. 5. Sydney: AMC Press (accepted).

Devenish, L. (2015). ‘The Emergence of Contemporary Percussion in Australia: 1960-1975’ Musicology Australia, 37/1: 1-27. ISSN 0814-5857.

Devenish, L., (2014). ‘The Percussion Music of David Pye’, PERCUSscene, 75/1: 94-96.


Devenish, L., (2017). ‘Book Review: The Cambridge Companion to Percussion’, Directions of New Music (1). DOI 10.14221/dnm.i1/4



Devenish, L., (2017). ‘Moving Forward: Percussion Explorations in twenty-first-century Australia’, Contemporary Music Review, 36/1-2. ISSN 0749-4467.

Devenish, L., Rocke, S., Alessi, P., (2014). ‘Music and Metamorphosis’, Eras Journal, 16/1. ISSN 1445-5218 .

Other writings

Devenish, L., Hope, C., Wyatt, A. (2019). ‘Shuffle Over: An aleatoric electronic shuffle score’, Proceedings of the Australasian Computer Music Conference 2018: 14-22.

Devenish, L., (2015). ....And Now for the Noise: Contemporary Percussion in Australia, 1970-2000 [D.M.A. thesis]. (available here)

Devenish, L. (2015). ‘Revealing the Roots: Researching Australian Contemporary Percussion’. Resonate Magazine.

Selected Conference Presentations

Devenish, L., Sun, C. (2018), ‘Transgressing Domesticity in Never Tilt Your Chair Back’, Musicological Society of Australia Conference: Perth.

Devenish, L. (2017), ‘Implements as Instruments’, Transplanted Roots Percussion Research Symposium, Brisbane.

Devenish, L. (2017). ‘Performing Tone Being for tam-tam and subwoofer using an electronic graphic score’, Performing Indeterminacy: An International Conference, Leeds.

Devenish, L., (2016). ‘Greater Than The Sum of Its Parts: Balinese Gamelan Instruments, Electronics and Composer-Performer Collaboration’, Musicological Society of Australia Conference: Adelaide.

Artistic Research

Louise’s artistic research is centered around collaboration with composers and makers to create new music and new instruments exploring performance practice of electroacoustic music, post-instrumental practice and digital notation. As a director-performer for solo projects and with The Sound Collectors and Intercurrent, she has worked with composers including Kate Neal, Cat Hope, Mark Applebaum, Lachlan Skipworth, James Hullick, Kate Moore, Kate McMillan, David Pye, Warren Burt, Annie Hui-Hsin Hsieh, Lindsay Vickery, Olivia Davies, Michael Askill and numerous others. With Decibel and Speak Percussion, Louise has collaborated on and premiered countless works from composers such as Cathy Milliken, Simon Løeffler, Damien Ricketson, Julian Day, Eugene Ughetti, David Toop, Robin Fox, Juliana Hodkinson and Lionel Marchetti.

Churchill Fellowship

In 2018, Louise undertook a Churchill Fellowship to study percussion music creation, performance, research methodologies and pedagogy in Spain, Germany, France, Switzerland and the United Kingdom. Her nine week Fellowship program included engagement with leading artists, teachers and scholars, including mentorships and studio visits with Christian Dierstien, Robyn Schulkowsky and Jean Geoffroy, performances, masterclasses and research presentations, and observing and discussing best practices in twenty-first century percussion at universities.

Full report available here


Louise is Senior Lecturer and Chair of Percussion at The University of Western Australia Conservatorium of Music and director of Piñata Percussion. The UWA percussion studio offers a wide range of performance focus areas including solo and chamber music, orchestral percussion and timpani, contemporary and experimental percussion, and also includes options in world music, electronic music, artistic research and composition. The percussion program is designed to produce exceptional performers who are also articulate artists, with each student’s study program designed according to their individual goals and interests. At the heart of UWA percussion is developing an excellent technical facility across all instruments, gaining experience in creative collaboration and honing professional musical skills that enable students to develop successful artistic practices beyond university. Louise also teaches courses in world music, rhythm, performance practice and artistic research at undergraduate and honours level, and supervises masters and doctoral students. Louise won the 2016 UWA Teaching Excellence (Early Career) Faculty Award for her teaching and course development.

Conservatorium website

Select Performance Projects