Percussionist and composer Bree van Reyk explains how banging on wood is music to her ears

However, for Newcastle percussionist, composer and sound artist, Bree van Reyk, it's about stripping music back to its fundamentals.

"I just really love the sound of wood," van Reyk said.

"One of my main musical practices is I have a little plank of wood on the carpet floor on my studio space and I just play. I just do these single improvisations on a single plank of wood. Even though it's a very basic instrument it has a really rich sound palate in that you get all these different harmonics.

"So you can hear different octaves of the wood depending on where you play it and your ears tune to different things.

"I love how basic it is. I can't break it."

The classically-trained artist has spent two decades shifting between the worlds of classical, jazz and experimental music, performing with the likes of the Australian Chamber Orchestra and Sydney Symphony Orchestra.

Van Reyk has also been heavily involved in the realms of indie-rock and folk, playing with Paul Kelly, Holly Throsby, Seeker Lover Keeper, Lior and Darren Hanlon.

It's been a hectic lifestyle of performances and commitments, but the pandemic forced van Reyk to slow down. That, in turn, sparked her interest in basic wood percussion.

"For me it's really important to take a bit more time these days with projects and do this kind of practice which is a little meditative and restorative for myself, rather than pushing and practicing and learning new notes and always under pressure," she said.

On Thursday van Reyk will explore her love of wood percussion when she speaks at the annual Peggy Glanville-Hicks Address, alongside ethno-jazz pianist and composer Zela Margossian, and singer, composer and improviser Sia Ahmad. The panel discussion is conducted by the Australian Music Centre, which promotes and supports art music.

Other topics to be discussed include diversity in the Australian music community, connection and support and building a more sustainable future for artists.

"It's about stripping that back and seeing that all music is valid and all musical practices are valid," van Reyk said.

"For me it's a little about unlearning that classical tradition. I have more recently become more suspicious of those patriarchal systems of knowledge and knowledge acquisition."

In 2019 van Reyk moved to Newcastle from Sydney with her partner, who studies a masters in architecture at the University of Newcastle.

The pandemic has limited van Reyk's opportunities to engage in the Newcastle music scene, however, she did host the Massive Band community-engagement project for the New Annual Festival last February, which celebrated women in rock.

The Peggy Glanville-Hicks Address 2021 panel discussion will go live at 1.30pm on Thursday. To view the free discussion visit www.theasustralianmusiccentre.com.au.