top of page


Thea Martin


Photo 5-10-2022, 1 00 01 pm.jpg

I am a violinist, teaching artist and writer/composer practising on Kaurna Land/Adelaide. In 2021 I graduated with a Bachelor of Music (Advanced) from the Elder Conservatorium of Music, and was also an Artist in Residence at youth arts organisation Carclew. I am currently an Artist in Residence in two public primary schools, where I specialise in innovative string and ensemble programs, as well as collaborative composition models. I am a Co-Director of Connecting the Dots in Music, whose work in community-engaged arts has been commissioned and programmed by Carnegie Hall (NYC), the Adelaide Symphony Orchestra, the Art Gallery of South Australia and a range of local schools, libraries and community centres.


As a violinist, I play in the bands Twine (noise-rock), War Room (post-roc), Cagefly (post-rock) Wake in Fright (art-folk), Eyrie (indie folk). In 2021 I was awarded a first prize scholarship through Norwood Symphony Orchestra, and was one of two inaugural 'Emerging Female Conductor's with Sydney-based contemporary music ensemble 'Ensemble Apex'. As a composer of post-classical/experimental music, my compositions have been performed in public space workshops, at Carclew’s 2021 exhibition ‘Embodiment’, and with local organisation MUD, who work in improvisation and extended domains. I created the collaborative composition workshop series ‘A Room of Her Own Workshops’, supporting young people to access their creative agency and explore their relationship to access to space, through the lens of focal works by living, local, non-male composers. Additionally, I have a solo music project under the moniker 'short snarl', with my debut EP 'Gossamer Songs' being released on June 15th.


My artistic practice is rooted in a commitment to the activation of individual and community agency, to uncover and construct sonic meaning through the processes of multiple creativities. Committed to dissolving the boundaries between composer, performer and listener, I am guided by a strong desire to use my artistry to blur. With a background as a violinist trained in the institutional ecologies of classical music, I seek to move beyond the elitist and patriarchal narrative of the isolated ‘master’ composer and the essentiality of the notated score. Inspired by and drawing on the pedagogical, community-centred deep listening and text-scoring practices of queer, experimental composer Pauline Oliveros, I write scores for musicians and non-musicians alike to use listening and sounding to practise self-care, community care and care for the environment.

bottom of page