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Submissions from 2017

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Lower-leg and foot contributions to turnout in university-level female ballet dancers: A preliminary investigation, Sarah L. Carter, Alan R. Bryant, and Luke S. Hopper

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Kinematic repeatability of a multi-segment foot model for dance, Sarah Carter, Nahoko Sato, and Luke Hopper

Sites of justice: Face-to-face encounters through dance-making in Meeting Places, Lucinda Coleman

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Investigating register preferences in the female singer of contemporary commercial music, Tracey Cooke

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Biological maturity and the anthropometric, physical and technical assessment of talent identified U16 Australian footballers, Ashley Cripps, Christopher Joyce, Carl Woods, and Luke Hopper

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Dialogue not Diatribe: Methods for a practice of socio-humanitarian playwriting, Siobhan Dow-Hall

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Stage managing Bali Agung: The possibility of hybridity in an intercultural production, Susan Fenty Studham

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An introduction to voice in screenwriting, Rose Ferrell

Screenwriter’s voice and national identity in Big Hero, Rose Ferrell

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Space-time continuums: Structure as an Eternal Dance, Rose Ferrell

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Voice in Screenwriting: Discovering/Recovering an Australian Voice, Rosemary Kaye Ferrell

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Bridging the Great Divide: An Exploration of Postmodernism in the Guitar Music of Nigel Westlake, Melissa Claire Fitzgerald

The viola works of Benjamin Dale: A contextual study two Lecture-Recitals -and- An exegesis, Alix Hamilton

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Torso and bowing arm three-dimensional joint kinematics of elite cellists: Clinical and pedagogical implications for practice, Luke S. Hopper, Cliffton Chan, Suzanne Wijsman, Timothy R. Ackland, Peter Visentin, and Jacqueline A. Alderson

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Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore, Stuart James, Cat Hope, Lindsay R. Vickery Dr, Aaron Wyatt, Ben Carey, Xiao Fu, and Georg Hajdu

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Culliford, Rolfe and Barrow: A tale of nine pianos, Geoffrey Lancaster

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Briefs and Hot Brown Honey: Alternative bodies in contemporary circus, Katie Lavers and Jon Burtt

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

Directing through Dialogue: A theatre director’s exploration of leadership, Gabrielle Frances Metcalf

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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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"You are no longer creative when you give up": Technical theatre’s creative sleight of hand, Maggie Phillips and Renee Newman

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

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Ankle taping can reduce external ankle joint moments during drop landings on a tilted surface, Nahoko Sato, Hiroyuki Nunome, Luke S. Hopper, and Yasuo Ikegami

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Finding meaning in data: Using data elements to sonify and visualize the found environment, Cissi Tsang

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Expanded percussion notation in recent works by Cat Hope, Stuart James and Lindsay Vickery, Lindsay R. Vickery, Louise Devenish, Stuart James, and Cat Hope

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

The reinvention of tradition: Transformation of Chinese water sleeve dance and Tai Ji in contemporary performer training and performance making, Min Zhu

Submissions 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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Role-play and invariance— Two aspects of ritual in Roger Smalley's Ceremony II, Ben Christiansen and Lindsay Vickery

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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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Reforging the maternal bond: Motherhood, mother-daughter relationships and female relationality in Goliarda Sapienza's L’arte della gioia’, Aureliana Di Rollo

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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

Two screenplays, one writer, national voice, Rose Ferrell

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From traffic rises: Site specificity and the compositional process, Mace Francis

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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

The dance environment, Luke Hopper and Alycia F. Yan

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A classification of multi-point spectral sound shapes, Stuart James

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A multi-point 2D interface: Audio-rate signals for controlling complex multi-parametric sound synthesis, Stuart James

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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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I shudder to think: Performance as philosophy, Jonathan Marshall

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

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Performing neurology: The dramaturgy of Dr Jean-Martin Charcot, 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

Forging a singular musical path: The compositional explorations of Mark Cain, 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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'Aborigines are true soldiers of the King': Recalling the regimental march, Gumleaf style, Robin Ryan and Herb Patten

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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

We could play that last century: Archiving digital 20th century digital performing arts in Western Australia, Meg Travers and Cat Hope

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

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Hybrid Real/Mimetic Sound Works, Lindsay R. Vickery

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

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The role of ring modulation in the formal structure of Roger Smalley's monody for piano with live electronic modulation, 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, Sam Gillies, and Josten Myburgh

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A comparison of the physical and anthropometric qualities explanatory of talent in the elite junior Australian football development pathway, Carl T. Woods, Ashley Cripps, Luke Hopper, and Christopher Joyce

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

Submissions from 2015

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Collisions, Co-opting and Collaboration: Reflections on the workings of an interdisciplinary collaborative project—inConversation, Lyndall Adams and Renee Newman

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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

An investigation into the origins of Belt and Legit, Tracey Cooke

An investigation into the origins of Belt and Legit, Tracey Cooke

The brief outline of the history of the voice and its influences on contemporary musical theatre’s performing conventions of today, Tracey Cooke

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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

Big Hero 6 ~ National Voice in a Transnational Context, Rose Ferrell

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Body Double: The Author Incarnate in the Cinema, Lucy Fischer (2013). [Book Review], Rose Ferrell

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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

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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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Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis, Jonathan R. Paget, Victoria Rogers, Nicholas Bannan, Paul HopWood, Krista Low, Adrian Yeo, Alix Hamilton, Lindsay Vickery, Stuart James, Carol Williams, Stewart Smith, Robin Ryan, Emma Jayakumar, Cat Hope, and Lucas O'Brien

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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