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Submissions from 2017

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Absence, Presence, Indexicality: The Mise en Scène of 'the Heart of Neolithic Orkney', Jonathan Marshall

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Changing lives through music: Professional audition practice and a community focus; an explorative study into the musical development of the Western Australian Charity Orchestra, Samuel Parry

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The application of Konokol to guitar improvisation and composition, Glenn Andrew Rogers

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The classification of the finger frames method in violin playing, Brittany Williams

Theses from 2016

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Pedagogy in performance: An investigation into decision training as a cognitive approach to circus training, Jonathan Burtt

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Coaches' perceptions of long-term potential are biased by maturational variation, Ashley J. Cripps, Luke Hopper, and Christopher Joyce

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Maturity, physical ability, technical skill and coaches' perception of semi-elite adolescent Australian footballers, Ashley J. Cripps, Luke Hopper, and Christopher Joyce

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Uncovering the unpublished chamber music of George Frederick Boyle Volume I: Dissertation, Ryan Davies

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A digital resource for navigating extended techniques on bass clarinet, Philip Everall

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Amnesiac A stage play - and - Playwriting migration: Silence, memory and repetition. An exegesis, Lucy Eyre

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Regional Western Australia and Sound Art: A survey of works by Alan Lamb and Ross Bolleter, Talisha Goh and Cat Hope

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The documentary mind: In the subject of a practitioner’s perspective on changes in documentary concept and production, Harold Robert (Bob) Hardie

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The Musicians, Harold Robert (Bob) Hardie

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Headline grabs for music: The development of an iPad score generator, Cat Hope, Stuart James, and Aaron Wyatt

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The possibilities of a line: Marking the glissando in music, Cat Hope and Michael Terren

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Maybe you should stop dancing... a little, Luke Hopper and Peta Blevins

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Single-leg squats can predict leg alignment in dancers performing ballet movements in "turnout", Luke Hopper, Nahoko Sato, and Andries L. Weidemann

Multi-point nonlinear spatial distribution of effects across the soundfield, Stuart James

Introducing decision training into an elite circus arts training program, P Lafortune, Jonathan Burtt, and P Aubertin

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Laughter & pain in a post-colonial limbo: Review of Yirra Yaakin, So Long Suckers, Jonathan Marshall

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The Concert Pianist Myth: Diversifying undergraduate piano education in Australia, Helen Mather

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A brief exploration of variances in Larry Grenadier’s approach to soloing in piano trio and duo contexts on selected recordings of All the Things You Are and Long Ago and Far Away, Alistair Campbell Peel

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Knocking on the door: Examining the practice of classical singers at a performing arts institution, Laura Pitts

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Choreographing intimacy: The making of ‘[they] slipped briskly into an intimacy from which they never recovered’ – a dance film, Antonio Rinaldi

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Forest as place in the album Canopy: Culturalising nature or naturalising culture?, Robin Ryan

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Kernels of discovery: Original musical instruments and acoustic sound designs, Robin Ryan

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Robin Ryan in conversation with Mark Cain: Kernels of Discovery: Original musical instruments and acoustic sound designs, Robin Ryan and Mark Cain

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An analysis of selected rhythmic, harmonic and melodic devices used in the arrangement and improvisation by Gwilym Simcock on The Way You Look Tonight (2007), Brodie Stewart

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Practising jazz performance: An investigation into the process that underpins optimal instrumental practice in the jazz idiom, Christopher J. Tarr

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Actor training and emotions: finding a balance, Susan Leith Taylor

Hexadecimal compositions – using HEX data to sonify images of the found environment, Cissi Tsang

Hybrid Real/Mimetic Sound Works, Lindsay R. Vickery

Rhizomatic approaches to screen-based music notation, Lindsay R. Vickery Dr

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Tectonic: a networked, generative and interactive, conducting environment for iPad, Lindsay R. Vickery Dr and Stuart James

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Between the real and the imaginary: ecostructural approaches to composing with field recordings and acoustic instruments, Lindsay R. Vickery, Michael Terren, Josten Myburgh, and Sam Gillies

The composer as bricoleur: Notions of contemporary opera in the genesis of a short film, Tsok Wee Yap

Theses from 2015

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Zeena Parkins’ contribution to experimental music and the development of the harp in the late twentieth century, Catherine Ashley

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The Adventurous Monk: A discussion of Eric Reed’s improvisational techniques and the influence of Thelonious Monk, Vaughn Beaver

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Inter-rater reliability and validity of the Australian football league’s kicking and handball tests, Ashley J. Cripps, Luke S. Hopper, and Christopher Joyce

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A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live, Joshua De Silva

Intinerari didattici ad Albano Laziale in ottica di genere, Aureliana Di Rollo

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Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’, David Dower

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The shifting voice: Investigating accent and dialect training for West Australian actors, Luzita Fereday

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Music in Site: Integrating elements of site-specificity into composition, Mace Francis

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The absurd reality of satire in Neil LaBute's 'Fat Pig', Hermione Gehle

Cries from within: The struggles and triumphs of creating a Singaporean voice in Musical Theatre, Caleb Goh

Archiving the new, now, for future users yet unknown, Lelia Green, Cat Hope, Kylie J. Stevenson, and Tos Mahoney

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Towards an interactive environment for the performance of Dubstep music, James Herrington

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Cruel and Usual, Cat Hope

The Decibel ScorePlayer: New developments and improved functionality, Cat Hope

Spectromorphology and Spatiomorphology: Wave terrain synthesis as a framework for controlling timbre spatialisation in the frequency domain, Stuart James

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Enter the movement: Generating stimulus from sceneography and proposing 'De-sign' as a tool for choreographic invention, Helene Gee Markstein

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A contextual study of Boris Asafiev's Musical form as a process and and application of concepts to his Sonata for solo viola, Kathryn Fiona McKay

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Mothers, daughters and family in Goliarda Sapienza’s L’arte della gioia, Susanna Scarparo and Aureliana Di Rollo

Stage management: A question of approach in intercultural theatre, Susan Fenty Studham

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Music Screen-Reading: indicative results from two pilot studies, Lindsay R. Vickery Dr and Talisha Goh

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The Missing Link: Filling the gap and achieving success in Australian contrabass auditions, Giovanni Vinci

Creatively Pursuing Persona: Finding identity through directing, Soseh Yekanians

Theses from 2014

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The poetics of gravity: Performance experiments from the natural environment to the stage, Russya Connor

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Explorations in double-stops: Three new pieces for explanding the role of the double bass in the jazz ensemble, Ashley de Neef

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Brad Mehldau’s approach to orchestration at the piano in a trio setting as demonstrated on “August Ending” (2004) and “Secret Beach” (2006), Gabriel Fatin

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Australia’s microtonal modernist: The life and works of Elsie Hamilton (1880-1965), Talisha Goh

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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

Noting the self: From embodying Buddhist vipassaná meditation to meditation-based performance, Tanatchaporn Kittikong

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Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies, Katrina Lavers

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Elliott Carter and his use of metric and temporal modulaton in his Eight Pieces for Four Timpani : an examination into the application of click tracks during the preparation and performance of these works, Tegan LeBrun

Rasalila meets Giselle: A journey from sensuality to spirituality, Sonia Nair

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

(Re)presenting Masculinity: A theatre director’s critical observations of, and theatrical experimentations with, (re)presentations of masculinity in selected works of contemporary Australian theatre, Shane Laurence Pike

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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 the mediality of live and studio composition: The case of computer music, and its implications in “Ambivalence of Density”, Michael Terren

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Eighteenth century techniques of classical improvisation on the violin: Pedagogy, practice and decline, Flavia Claudia Todea

Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century, Zoe Tuffin

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Exploring a visual/sonic representational continuum, Lindsay Vickery

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Prevalence, risk factors, and effects of Performance-Related Medical Disorders (PRMD) among tertiary-trained jazz pianists in Australia and the United States, Graham C. Wood

Submissions from 2013

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

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The making of Disgrace Kelly: Dragging the diva through cabarets, pubs and Into the recital hall, Caitlin Cassidy

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Undefined genre, or, A study into work reliant on visual art mediums to transform the protagonist function of the human body in performance, Tony Currie

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Ronald Stevenson, composer-pianist : an exegetical critique from a pianistic perspective, Mark Gasser

How might specially-designed contemporary dance teaching positively affect adolescent health and well-being?, Katharina F. Geertsen

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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

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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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An investigation of the benefits of improvisation for classical musicians, Rebecca S. Kossen

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Music for three piece orchestra : using motivic analysis to characterise Hiromi Uehara's compositional style as found in her 2006 jazz trio album Spiral, Ben Matthews

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Ben Wendel : the manipulation of sound and 'shapes' in the construction of an improvised solo, Luke Christopher Minness

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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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A transcultural journey : integrating elements of Persian classical music with jazz, Kate Pass

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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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My worst ever night at the best school ball ever : creating taboo theatre for teenagers, Jeremy F. Rice