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Submissions from 2011

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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

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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

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

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

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

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A study of performance practices in recordings of Bach's Violin Sonata BWV 1003 from 1930-2000, Adrian Yeo

Submissions from 2009

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Regulating the Notes : A Case Study Into the Impact of Government Regulation on the Live Music Performances of Perth's Original Contemporary Musicians, Christina Ballico

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The success and sustainability of improvisation in a live performance context, Ashleigh Rose Berry

In music, poetry: A Britten song cycle and influences on a new work, Talitha Broughton

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Dreaming in motion: Maintaining community, culture and identity of First Australians, Ian R.T. Colless

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An investigation of specific structural techniques used by the Miles Davis Quintet on selected live recordings from 1964-1965, Callum G'Froerer

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The classics and her cygnets: Classic choreographies and their contemporary (counter) parts, Leeke Griffin

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'Youth Ventures Into the Unknown' developing an individual style of dance making, Kate Herron

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Kenny Wheeler: Melody, harmony and structure : An analysis of the melodic, harmonic and structural techniques in the compositions of Kenny Wheeler, and the implementation of those techniques into the authors own creative process, Alice Humphries

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Constellations, Pathways Through the Body : An Exploration Creating new Movement Pathways Using Dual Patterning, Gemma Laing

Shakespeare's verse and the training actor, Leith McPherson

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Modern Performance Trends In Bach's Sacred Music : Changing Tastes in the Performance of Bach's Weihnachtsoratorium : An Exploration of the Rhetorical Style., Sam Nester

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Architects of the identity of dance: gender inequity in achievement and acknowledgment in Australian contemporary dance, Quindell Orton

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Undressing and redressing the harlequin: An Australian designer's perspective, Julie Parsons

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

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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

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The Communicating Dance, Alison Plevey

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From Dreams to Nightmares : Cross-Generational Romance in Mainstream American Cinema, Sol Stern

Submissions from 2008

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Steve Reich's 'Piano Phase' and David Cossin's 'Video Phase' : An Exploration of David Cossin's Video Phase With Reference to Steve Reich's Original Work Piano Phase., Fiona Digney

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Protean careers and the performing arts: antecedents for intrinsic motivation, Sophie Fernandes

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Navigate your way through a sea of data, Korin S. Gath

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Unmasking Albany : Addressing Social Issues Through Mask-Work With Young People in a Western Australian Regional Centre., Fleur Hockey

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Visualising the transient self: An examination of the intangible in creative work, Jaqueline Monks

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New indeterminate music: The influence of the Cagean trajectory in the importance of being earmarked, Brett Philip Murray

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Is Dance Good for the Body or Not? : An Examination of Body Awareness and Injury Prevention for Specialised Tertiary Dance Students, Kylie Murray

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Creativity's Crossingforces:A Danced Interplay, Maggi Phillips

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Performing Le Merle Nair: an investigation into the performance issues in the music of Olivier Messiaen, Kirsten Smith

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Performing the Keyboard Percussion Works of Nebojsa Jovan Zivkovic, Joshua James Webster

Submissions from 2007

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A methodology for thorough text preparation of German Lieder, Emma Louise Blake

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Cinematography and choreography: "It takes two to tango", Laura Boynes

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In Genius-Lee : An analysis of the improvisational style of Lee Konitz, Andrew Brooks

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The new String Quartet : The evolution of the Hyperquartet, Rachael Deas

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Blowing East : A set of Performance Practice Instructions for a Western Flautist Presenting Japanese and Indian Inspired Works, Asha Henfry

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Facelift, Cat Hope

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Electronic music compositional techniques in instrumental music: A study of effect in Helmut Lachenmann's 'Pression'., Lisa James

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Vigilante Performance, Jonathan Marshall

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Rehearsal and Performance Practices of Minimalist Music, Specifically Related to Music for Eighteen Musicians by Steve Reich, Callum Moncrieff

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Photography, Dance and the Concept of Punctum, Rhiannon Newton

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God's Lonely Men : Bernard Herrmann's Musical Voice for the Lonely and Tortured Men of Cinema., Clare Nina Norelli

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Lost in translation: Making sense of dance through words, Paul T. O'Sullivan

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Preparing the role of Tytania in Britten's A Midsummer Night's Dream: a handbook for singers, Emma Pettemerides

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An investigation of musical life and music societies in Perth (Western Australia), 1900-1950, Jessica Sardi

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A method for electric bass improvisation via a detailed analysis of the improvisational techniques of Jaco Pastorius from 1967-1968, Aaron Spiers

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Redefining Electro-Acoustic: Applying Techniques From Electronic Music to the Composition of Pivot, an Acoustic Work for Percussion Quartet, Joe Stawarz

Submissions from 2006

Performance design : the Western Australian Opera Company's contribution to performance design 1968-1997, Howard Bradfield

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Through the window: the subject and the voyeur's gaze within cinema and video., James A. Doohan

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Bob Brookmeyer: composer, performer, pedagogue, Mace Francis

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The Classical Guitar in Paris: Composers and Performers c.1920-1960, Duncan Robert Gardiner

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Application of binaural recording in the video game industry, Max Leong

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Financial philanthropy towards Australian public art galleries by individual benefactors: Some empirical evidence from the National Gallery of Victoria, Elisha London

Transforming Messiaen : The Application of Elements of the Musical Language of Olivier Messiaen to the Contemporary Jazz Orchestra, Johannes Luebbers

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An investigation into the spectral music idiom and its association with visual imagery, particularly that of film and video., Brett Mabury

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The dancing mind, Rebecca McCormac

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Creative interpretation and cello technique: A pedagogical handbook in the tradition of Michael Goldschlager and Bernard Greenhouse, Sacha McCulloch

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The integrated sound, space and movement environment : The uses of analogue and digital technologies to correlate topographical and gestural movement with sound, Jonathan A. Mustard

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What are the benefits of dance in relation to developing creative potential for the individual?, Shannon Riggs

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The influence of genetics and the environment on human personalities, relationships and experiences, Patrice Smith

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An investigation Into Lindsay Vickery's Rendez-vous: an Opera Noir, Adam Willett

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Tan Dun's Eight Memories in Watercolor: Insights into performance, Zhen Zeng