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Submissions from 2014

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

Investigating the ranges of the female voice, Tracey Cooke

The history of the voice and how it has informed performing conventions of today, Tracey Cooke

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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

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

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Uncovering a genre : the integration of suspended aerial apparatus and contemporary dance practice in Australia, Catherine Ryan

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

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Electronic music is here to stay - or is it?, Meg Travers and Cat Hope

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Utilizing classical saxophone articulation techniques in jazz performance, Jeremy Trezona

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Developing audiation through internalisation : using the pivots system as an example, Steven Vacca

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Joe Henderson's harmonic approach to improvisation within the duo setting in his 1992 quintet album, Lush Life: the music of Billy Strayhorn, Patrick van der Moezel

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Creating and Performing New Australian Works on the Hungarian Concert Cimbalom, Joshua Webster

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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An evaluation of the instructional practices in voice teaching at Australian performing art institutions, Ann Adlem

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Diva Voce : reimagining the diva in contemporary feminist performance, Dawn Albinger

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Bach on marimba : a case study using the violin sonata in A minor (BWV 1003), James Chong

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The body of the voice in contemporary singing pedagogy, Tracey Cooke

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Investigating the structure of acoustic and electronic noise : an analysis of 'Volumina' by Gyorgy Ligeti and 'Canaanda' by Merzbow, Sam Gillies

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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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Capturing dance: the art of documentation (An exploration of distilling the body in motion), Kasey J. Lack

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

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Producing the moon : an account of the Festival of Perth, 1953-1999, Anne M. Rennie

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Exploring the multi-generational influence of American ragtime music through the works of Charles Ives, William Walton and William Bolcom, Rebecca E. Smith

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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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Aspects of rhythm in the music and improvisation in six pieces by bassist Avishai Cohen., Nicholas L. Abbey

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Healing Through Belief, Biography, and Social Connection, Anomie

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The Piano Music of George Frederick Pinto, Aidan Boase

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Minimalism and the guitar, Melissa Claire Branson

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A comparative study of selected saxophone quartet repertoire from the Mule, Rascher and Apollo Saxophone Quartets between 1928 and 1995., Jesse G. Deane

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Proposed methods for efficiently attaining the skills required for accurate time keeping In music., Ben Falle

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Using Clare Fischer's solo piano approach in Yesterdays to reinterpret Jazz standard repertoire, Christopher N. Foster

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The Improvisation of Structured Keyboard Accompaniments for the Ballet Class, Simon Frosi

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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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Audible designs, Catherine Hope

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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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They reckon I need a dramaturg : examining the value of a dramaturg to both the playwright and the professional theatre company in Australia, Polly Low

JLD: The Exquisite Corpse of Beethoven, Johannes Luebbers, Stuart G. James, Emily R. Thomas, Stephanie Nicholls, Sean P. Little, Ben Collins, Callum G'Froerer, Doree Dixon, Tilman Robinson, Christopher Foster, Nicholas L. Abbey, Ben M. Falle, Aaron L. Malone, and Simon B. Jeans

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An Exploration of the Current Information and Services for the Management and Prevention of Dance Injuries and Their Accessibility to Australian Tertiary Dance Students., Jayde MacDonough

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Intimate Encounters: A Study of the Interaction Between Dancer and Observer, Caitlin MacKenzie

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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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A discussion into the careers of James Houlik and Andy Scott with regards to identifying the vital steps needed to establish a performance career as a specialist classical tenor saxophonist., Erin Royer

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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

Beijing Ninegates International Jazz Festival, Matthew J. Styles, Glyn MacDonald, Michael Perkins, and Nicholas L. Abbey

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The Synergy of Visual Projections and Contemporary Dance, Hannah Molly Timbrell

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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

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Postmodernism and the Professional String Quartet, Kelly Michaela Curran

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Dancing With Risk ; Risk-Taking as a Performance Practice in Contemporary Dance, Gemma Dawkins

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The Seventeenth-Century Battaglie for Lute in Italy, Aiden Deasy

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Music for Trumpet and Cornetto in the Duben Collection, Breanna Michelle Evangelista

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Historically and in the Context of Globalisation, how do Western European Perceptions of Folk/ Traditional Dance Pervade and Shape the Field of Dance?, Emma Fishwick

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An Interactive Music System Based on the Technology of the reacTable, James Herrington

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The Ephemerality of Dance, Abby Frances Johnson

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Copyright, Creative Commons and Artistic Integrity, Yagan M. Kiely

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The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance?, Rachel Perica

The (un)written heart in Brecht’s Baal and Journeys of the god of happiness : heart matters in the development of a playwright and his ideas on acting, Ralf G. Rauker

Musical networks in experimental electronic performance, Malcolm Riddoch and Jarryd Bird

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John Hollenbeck's Compositional Technique: An Analysis and Creative Application, Tilman Robinson

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The Analysis of Composition Techniques in UTP_: Synthetic Composition for Electroacoustic Ensembles, Kynan Tan

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