The role of Jan Sedivka in the development of Australian contemporary string music

Since the settlement of Australia, the creation, publishing and performance of its string music has faced the vicissitudes of an emerging society geographically removed from mainstream musical history and influences. This thesis aims to establish the significance of Jan Sedivka on contemporary Australian string music. From his exposure to contemporary music in France, Sedivka performed and conducted twentieth century music in England for twenty-one years. Subsequently, he accepted a position at the Queensland Conservatorium, and from 1966, he taught and performed in Tasmania. There he established a Piano Trio that introduced contemporary music to the public, and was director of the String Summer Schools from 1971 to 1988 where students were exposed to contemporary European and Australian music. Sedivka was director of the Tasmanian Conservatorium of Music from 1972 to 1982, and created two string quartets - Rialannah and Petra. The latter Quartet's significance rests with the focus placed on contemporary Australian chamber music. Sedivka worked tirelessly for the commissioning of a large number of Australian string compositions for both solo violin and string quartet, a momentous achievement for a single musician. A brief history of string music in Australia is documented to enable comparison of before and after Sedivka's arrival. He commissioned a number of string works, or facilitated the funding of commissions through official organizations. Sedivka's most significant contributions to Australian contemporary string music embrace his unrivalled skill as a teacher, and his willingness to be involved, and involve his students, in the performance of contemporary music. His role as a performer and conductor of the contemporary string repertoire was prominent, and his association with a considerable number of Australian composers inspired the creation of commissioned works for violin and string quartet