Submissions from 2019
Night music [album launch tour], Jamie Oehlers, Ricki Malet, Harry Mitchell, Zac Grafton, and Ben Vanderwal
Dancer Bethany Reece responding to momentum of wave as it meets the land, Film Shoot 2, Mettams Pool, Johanna Omodei
Dancer Bethany Reece responding to water, Film Shoot 1, Serpentine Falls, Johanna Omodei
Opening footage of water in su dansi, Johanna Omodei
Sinking and rising underwater movement, Johanna Omodei
su dansi. A dance film – and – Dancing elements: The making of su dansi - a dance film. An exegesis, Johanna Omodei
Su Dansi - Dance film, Johanna Omodei
Symbiotic relationship of still taken from Film Shoot 1, Johanna Omodei
Underwater cinematography in su dansi, Film Shoot 3, Mettams Pool, Johanna Omodei
Variation of timing in Alexandra Kay’s movement, Johanna Omodei
Wide Shot of dancers at Film Shoot 1, Serpentine Falls, Johanna Omodei
Forgotten Florestans: Leveraging exegetical analysis and historically-informed performance knowledge in romantic guitar works, Jonathan Paget and Paul Cesarczyk
Limited hangout: In the field: Season 1, Sage Pbbbt, Lindsay Vickery, Olivia Davies, Josten Myburgh, Pippin Kenworthy, and Mace Francis
The State of Dancingness: Staying with leaving, Jo Pollitt
Writing as dancing: The dancer in your hands , a novella <>, Joanna Tollemache Pollitt
United as one, Reach For the Lazers (R4TL), Nick Hatcher, Stu Chapman, Victoria Newton, and Paul Larner
Welcome to the peoples of the mountains and the sea: Evaluating an inaugural indigenous cultural festival, Robin Ryan and Uncle Ossie Cruse
Piano solo recital, Anna Sleptsova and Lee Bradshaw
Monologuing the music: A new actor training practice for new times, Nicole Stinton
The situated performative: Considering the politics of the pause in performance, Alexa Taylor
The grain of the digital audio workstation, Michael Terren
Composing soundscapes from a single field recording, Cissi Tsang
Never Far Away [Music CD], Teresa Vinci
Performance practice in Hungarian folk music and its relationship to the Style Hongrois, Teresa Vinci
Instant cash, Tim White
Alchemy, Tim White, Michael Askill, and Defying Gravity Percussion Ensemble
Defying Gravity: Under the stars, Tim White and Defying Gravity Percussion Ensemble
Rhythms of life percussion festival, Tim White, Defying Gravity Percussion Ensemble, Fiona Digney, Robert Oetomo, and Aaron Logan
The canvas mode: Rapid prototyping for the Decibel ScorePlayer, Aaron Wyatt, Lindsay Vickery, and Stuart James
Unlocking the Decibel ScorePlayer, Aaron Wyatt, Lindsay Vickery, and Stuart James
Contemporary Chinese dance: the interweaving of tradition and modernity, Min Zhu
Submissions from 2018
WAAPA Gospel Choir arrangements for Faith & Freedom: The music of George Michael with the Perth Symphony Orchestra, Matthew Allan, Western Australian Academy of Performing Arts Gospel Choir, and Perth Symphony Orchestra
WAAPA Gospel Choir arrangements for Signed Sealed Delivered: The Music of Stevie & Aretha, Matthew Allen, Western Australian Academy of Performing Arts Gospel Choir, and Perth Symphony Orchestra
Cultural responses to occupation in Japan: The performing body during and after the Cold War, by Adam Broinowski, Frances Barbe
Spectator as traveller and performer as guide: A conversation on the pedagogy of site-specific, participatory and immersive performance, Frances Barbe and Renee Newman
Creating a career as a woman composer: Implications for music in higher education, Dawn Bennett, Sally Macarthur, Cat Hope, Talisha Goh, and Sophie Hennekam
Cognitive imagery training in a dancer’s deliberate practice: Skills development, confidence and creativity, Sasha Brampton
Lower leg and foot contributions to turnout in female pre-professional dancers: A 3D kinematic analysis, Sarah L. Carter, Rebekha Duncan, Andries L. Weidemann, and Luke S. Hopper
Lower leg and foot contributions to turnout in pre-professional female dancers: A clinical and kinematic analysis, Sarah Louise Carter
Kinematic repeatability of a multi-segment foot model for dance, Sarah Carter, Nahoko Sato, and Luke Hopper
The prevalence of generalized and syndromic hypermobility in elite Australian dancers, Cliffton Chan, Luke Hopper, Feili Zhang, Verity Pacey, and Leslie L. Nicholson
Remnants of us: Collective dance-making as multi-art form praxis, Lucinda Coleman
The Fifth Sparrow: In Memory of Mollie Skinner, Susannah Conte
Neoteric Drum Set Orchestration: An analysis of Nate Wood’s drumming on the music of Tigran Hamasyan, Ryan George Daunt
The interaction between postminimalist music and contemporary dance, Azariah Felton
Field notes for an Australian production of The Beautiful Game: A case study in coaching challenges, Luzita Fereday
Layered analytical graphs: analysing and composing using the harmonic techniques of Wayne Shorter and Chick Corea, Samuel Hadlow
Integrating biomechanical and animation motion capture methods in the production of participant specific, scaled avatars, Luke Hopper and Nahoko Sato
The inherent movement variability underlying classical ballet technique and the expertise of a dancer, Luke S. Hopper, Andries L. Weidemann, and Janet Karin
Beyond the Wall An opera for children in 2 acts –and– Toward a more engaging operatic genre for children An exegesis, Emma Michelle Jayakumar
Joseph Haydn: The seven last words of Christ: Geoffrey Lancaster—fortepiano, Geoffrey Lancaster
The multiple narratives of Cirque Du Soleil, Katie Lavers and L.P. Leroux
The foundations of speech-melody composition and the dawn of the digital music era, Jonathan Maltman and Lindsay Vickery
Bodies at the threshold of the visible: photographic butoh, Jonathan W. Marshall
Lara Stevens, Anti-war theatre after Brecht: Digital aesthetics in the 21st Century [Book review], Jonathan W. Marshall
The nervous stage: nineteenth-century neuroscience and the birth of modern Theatre by Matthew Wilson Smith (review), Jonathan W. Marshall
Welcoming the challenge of the new, Jonathan W. Marshall Dr.
Landscapes as graveyards: Spectral return and performativity in the contested landscape, Jonathan W. Marshall and Emily Duncan
Toad media, Jonathan W. Marshall and Cat Hope
The space between, Emma Matthews, Jamie Oehlers, Paul Grabowsky, and Steve Vizard
Analysing intonation of the Pied Butcherbird, Jean-Michel Maujean
I am here now: A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting: An exegesis, Michael McCall
Don't stop here, Harry Mitchell, Jamie Oehlers, Karl Florisson, Jeremy Thomson, and Daniel Susnjar
Seeking basic needs and other tales of excess, Renee Newman and Ben Collins
An exploration of trumpet valve rotation: Its mechanics, sound, and notation, Daniel Francis O'Connor
Towards a notation for trumpet valve rotation, Dan O’Connor and Lindsay Vickery
A case for innovation in jazz through integration of the digital/moving image, Tom O'Halloran
Developing approaches to jazz improvisation and composition via Messiaen’s Vingt regards sur l'enfant-Jésus, Tom O'Halloran
Improvised solo piano performance, Tom O'Halloran
New directions in jazz, Tom O'Halloran, Niran Disaka, Ben Vanderwall, and Zac Grafton
Guitaromanie: Vivifying rare 19th century guitar works, Jonathan R. Paget
Miyan ki todi raga: Flute and classical guitar 1st movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades
Raga Hamsadhwani / Yaman: Flute and classical guitar 2nd movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades
Variations on Bhimpalasi: Flute and classical guitar 3rd movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades
Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall, Victoria Rogers
Sing the Karri, Sculpt the Jarrah: Sustaining old-growth forest through the arts, Robin Ryan
You’re messin’ up my mind': Why Judy Jacques avoided the path of the pop diva, Robin Ryan
The rhythmic, harmonic and phrasing language of Lennie Tristano: Analysis and strategies for incorporation in modern jazz improvisation, Austin Salisbury
Reliability of the evaluation of humanoid animation as a visualizing tool in hip-hop dance, Nahoko Sato and Luke S. Hopper
Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition, Tsu Tham Tommy Seah
Creative awareness at LINK dance company 2017, Lauren Ebony Sherlock
Beethoven triple concerto, Anna Sleptsova, Louise McKay, Rebecca Glorie, and Mark Coughlan
Frédéric Chopin: Poet of the piano, Anna Sleptsova, Louise McKay, Izaac Masters, Jordan Proctor, Chern Xi Khor, Mae Anthony, Nicholas Williams, Julian Wheeler, Emma Davis, Mitchell Price-Norgaard, Xiaosong Liu, and Ryan Davies
Vital performance: Culture, worldview, and romanticist performance practice with application in Franz Liszt’s Consolations and Années de Pèlerinage Première Année, Andrew John Snedden
Tenacity: Solo recital, Matt Styles
Spark, Daniel Susnjar
What is possible or impossible to perform, Alexa Taylor
Rocky Horror allegations throw a spotlight on acting boundaries, on and off stage, Leith Taylor
Siliceous: speculative mimesis and the grain of the digital audio workstation, Michael Terren
Resounding landscapes–combining psychogeography and elements of the landscape as composition, Cissi Tsang
A Survey to Investigate the Participation of Female Jazz-Trained Instrumentalists at WAAPA and in Perth’s Professional Music Scene, Talya Valenti
kurui [2018] for bass clarinet, piano/melodica and percussion, Lindsay Vickery
Sanctuary [2018] for percussion quartet, Lindsay Vickery
Some approaches to representing sound with colour and shape, Lindsay Vickery
takadanobaba [2018] for voice, violin, trumpet, alto saxophone, bass clarinet, electric guitar, prepared piano and percussion, Lindsay Vickery
thalweg [2018] for electric guitar and electronics, Lindsay Vickery
un paso al abismo [2018] for live soap opera feeds and performers, Lindsay Vickery
Willson's Downfall [2018] for three performers and field recordings, Lindsay Vickery
Lines of flight, Lindsay Vickery, Catherine Ashley, Jameson Feakes, and Kirsten Smith