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Submissions from 2014

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Do dance floor force reduction and static stiffness represent dynamic floor stiffness during dance landings?, Luke S. Hopper, Jacqueline A. Alderson, Bruce C. Elliott, Timothy R. Ackland, and Paul R. Fleming

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Dancer Perceptions Of The Force Reduction Of Dance Floors Used By A Professional Touring Ballet Company, Luke Hopper, Talia Wheeler, James Webster, Nick Allen, Jonathan Roberts, and Paul Fleming

The neglect of Holbrooke's chamber music and the specter of mass culture, Paul A. Hopwood

Choreographies of Thought: Dancing Time back into Writing, Margaret J. Phillips

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Mr Barbecue By Elena Kats-Chernin: The Raw And The Cooked, Helen K. Rusak

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Toward A New, Musical Paradigm of Place: The Port River Symphonic Of Chester Schultz, Robin Ryan

Two Decades in the Contact Zone: A Critical Assessment of Process and Productivity in Koori Music Research, Robin Ryan and Herb Patten

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Sound shapes and spatial texture: Frequency-space morphology, James Stuart

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Exploring a visual/sonic representational continuum, Lindsay Vickery

Submissions from 2013

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Tessitura changes in music theatre repertoire for the soprano voice, Linda J. Barcan

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Reflections on the construction of meaning through immanent visual association, Samuel P. Gillies and Lindsay R. Vickery

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Mobilising John Cage: The Design and Creation of Score Generators for the Complete John Cage Variations I–VIII, Cat Hope, Lindsay R. Vickery Dr, Aaron Wyatt, and James Stuart

2D AND 3D Timbral Spatialisation: Spatial Motion, Immersiveness, and Notions of Space, Stuart James and Catherine Hope

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Retaining a sense of spontaneity in Free Jazz improvisation through music technology, Suzanne Kosowitz and Lindsay R. Vickery

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The Performance of Biopower and Liveliness: The Life and Death of Terri Schiavo, Renee E. Newman-Storen

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Conversations over the Gap, Renee E. Newman-Storen and Ryan Reynolds

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Has Sculthorpe misappropriated indigenous melodies?, Jonathan R. Paget

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Keys from the past: Unlocking the power of eighteenth-century contrapuntal pedagogies, Jonathan R. Paget and Stewart J. Smith

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Diminutive Catastrophe: Clown's Play, Margaret J. Phillips

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Skipping against hegemony: Where are states of lightness in contemporary dance-making?, Margaret J. Phillips

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Alternative Approaches to Stage Management in Bali, Susan R. Studham

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Electronic Music is here to stay - Or is it?, Meghan M. Travers and Catherine A. Hope

Animated Music Notation on the iPad (Or: Music stands just weren't designed to support laptops), Aaron K. Wyatt and Catherine Hope

Submissions from 2012

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New digital interactions with John Cage's Variations IV, V and VI, Catherine Hope, Stuart James, and Lindsay Vickery

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From Autonomous to Performative Control of Timbral Spatialisation, Stuart James

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Skipped stakes of lightness: A failure of knowledge, Margaret Phillips

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Adapting John Cage's Radio Music for a digital score player, Lindsay Vickery

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The Evolution of Notational Innovations from the Mobile Score to the Screen Score , Lindsay Vickery

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Digital adaptions of the scores for Cage Variations I, II and III, Lindsay Vickery, Catherine Hope, and Stuart James

Submissions from 2011

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Healing Through Belief, Biography, and Social Connection, Anomie

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New Possibilities for Electroacoustic Music Performance, Cat Hope

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Manifesting Meaning from a Performance of Cruelty: Parallels in the Musical Experimentalism of Antonin Artaud and Sub Ordnance, Cat Hope and Sam Gillies

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Processes in Composition and Performance Leading to Performance, Catherine Hope

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Spatialising Threads/Hallucinations: Closing the Gap Between Installation and Performance, Catherine A. Hope and Kynan Tan

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Screen Scores: New Media Music Manuscripts , Cat Hope and Lindsay Vickery

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Visualising the Score: Screening Scores in Realtime Performance, Cat Hope and Lindsay Vickery

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Multidimensional Data Sets: Traversing Sound Synthesis, Sound Sculpture, and Scored Composition, Stuart James and Catherine Hope

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Organicism in Live Experimental Electroacoustic Music, Mark Mcmahon

Outback Dreaming: Peter Sculthorpe and the guitar, Jonathan R. Paget

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Knowledge, Experience and a Dash of Rebellion: Dance Training in Australia, Maggi Phillips

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What's in a Name? Is the term "Third Stream Music" truly representative of the music it is supposed to describe? Would the term "Jazzical" be just as appropriate?, Matthew Styles

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The Evaluation of Nonlinear Musical Structures , Lindsay Vickery

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The Possibilities of Novel Formal Structures through Computer Controlled Live Performance , Lindsay Vickery

Submissions from 2010

The Triple Threat Actor and the Acquisition of Music Skills, Derek Bond

Mobile Scores and Click-Tracks: Teaching Old Dogs , Lindsay Vickery

Submissions from 2009

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Artists, Creativity and Knowledge: A Challenge for Doctoral Change, Maggi Phillips

Seeking Excellence in Danced Postgraduate Degrees, Maggi Phillips

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Dancing Doctorates Down-Under? Defining and Assessing 'Doctorateness' When Embodiment Enters the Thesis , Maggi Phillips, Cheryl Stock, and Kim Vincs

Submissions from 2008

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Creativity's Crossingforces:A Danced Interplay, Maggi Phillips

Submissions from 2005

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Diversified Moves of a Specialised Ecology: Can this Art-Form be Sustainable?, Maggi Phillips

Submissions from 2003

The Dance to Know: Transition in an Elite Educational Sector, Chrissie Parrott and Maggi Phillips

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The Embodied Thesis, Maggi Phillips

Submissions from 2002

Crazy Link-ups all Over the Place: Russian Blood, Modernity and Western Australia, Maggi Phillips