Submissions from 2026
Video Example 295. Transience improvisational experimentation with effects, Judith A. Iddison
Video Example 296. Gregorio explores harmonics, bow-percussion and flautando effects in Transience improvisation, Judith A. Iddison
Video Example 297. Full Moon Swing single and double-time comping, Judith A. Iddison
Video Example 298. Bariolage over Spain's chord changes while Gregorio improvises, Judith A. Iddison
Video Example 29. Gregorio plays a 1920s or 1930s-style Autumn Ballad solo including a favourite character phrase, Judith A. Iddison
Video Example 2. Gregorio teaches and demonstrates ghosting on chromatic-based phrases and transferable swung patterns, Judith A. Iddison
Video Example 30. Excerpt from Tri Swingin’ duo in which Gregorio features notes from the jazz minor scale and I comp, Judith A. Iddison
Video Example 31. Gregorio sings diminished-based phrases featuring the leading note and 6th on Tri Swingin' improvisation, Judith A. Iddison
Video Example 32. Exercise in crafting melodic patterns from half-whole diminished scale over A7-Dm in All of Me, Judith A. Iddison
Video Example 33. Colouring dominant chords on All of Me, Judith A. Iddison
Video Example 34. Gregorio introduces the Romanian scale and suggests minor 6 ideas for improvising on Douce Ambiance, Judith A. Iddison
Video Example 35. Colourful phrases containing sharp 9 and whole-tone scale applied to dominant chords on Swing 42, Judith A. Iddison
Video Example 36. An introduction to sliding-chromaticism, Judith A. Iddison
Video Example 37. Further sliding-chromaticism experimentation and 'discovery' of sharp 9 and tritone, Judith A. Iddison
Video Example 38. Gregorio demonstrates sliding-chromaticism and 'discovers' colourful phrases, Judith A. Iddison
Video Example 39. Call and response octave brass stabs in Sea Funk, Judith A. Iddison
Video Example 3. Gregorio demonstrates anticipated triplets, jazz vibrato and ghosted transitional first-finger idea, Judith A. Iddison
Video Example 40. Gregorio teaches seven funk-inspired pentatonic ideas with call and response, Judith A. Iddison
Video Example 41. Colourful funk-based minor pentatonic ideas and employing the strategy of delaying the tonic and beat one, Judith A. Iddison
Video Example 42. Gregorio instructs on different styles of Indian rāga ornamentation through call and response, Judith A. Iddison
Video Example 43. Gregorio teaches Afro-Cuban-style percussive effects on violin over an excerpt of Caravan’s changes, Judith A. Iddison
Video Example 44. Gregorio contrasts Caravan's rhythmic and melodically-embellished A section and blues-based B section, Judith A. Iddison
Video Example 45. Two contrasting flute-like effects over Caravan, Judith A. Iddison
Video Example 46. Employing metric modulation over an Afro-Cuban style groove with broken thirds and tonal shift over C minor, Judith A. Iddison
Video Example 47. Combined extended techniques excerpts from Stage One tuition, Judith A. Iddison
Video Example 48. Combined amplified effects excerpts from Stage One tuition, Judith A. Iddison
Video Example 49. Combined chopping excerpts from Stage One tuition, Judith A. Iddison
Video Example 4. 'Go Park the Car' rhythm using pulsed long bows, Judith A. Iddison
Video Example 50. Combined comping excerpts from Stage One tuition, Judith A. Iddison
Video Example 51. Creating a looped ambient soundscape, Judith A. Iddison
Video Example 52. Gregorio explores and loops percussive effects on the violin, Judith A. Iddison
Video Example 53. Octaves leaps and demonstration of descending one-finger shifts with quality, non-vibrated jazz tone, Judith A. Iddison
Video Example 54. Trading artificial-harmonics solos on Minor Swing, Judith A. Iddison
Video Example 55. Character idea played over Swing 42, 'discovery' of sharp 9 and bringing intention through syncopation, Judith A. Iddison
Video Example 56. Application of E and E-based patterns as pivot note within Swing 42 improvisation, Judith A. Iddison
Video Example 57. Embellishing Nuages’ melody, Judith A. Iddison
Video Example 58. Trading one-string solos with Gregorio on Minor Swing, Judith A. Iddison
Video Example 59. Gregorio demonstrates singing while playing on Minor Swing, Judith A. Iddison
Video Example 5. Gregorio demonstrates nuances of bowing fro creating a 'jazz trumpet' tone, Judith A. Iddison
Video Example 60. Improvisation featuring an emotive character phrase within Swing 42, Judith A. Iddison
Video Example 61. Juxtaposing sound worlds within Caravan improvisation, Judith A. Iddison
Video Example 62. Gregorio outlines Hungaria's chord changes highlighting colourful notes, Judith A. Iddison
Video Example 63. Gregorio plays Hungaria's chord changes in tempo and suggests colourful improvisational ideas, Judith A. Iddison
Video Example 64. Gregorio demonstrates violin-friendly, arpeggio-based ideas over Hungaria’s dominant 7 chords, Judith A. Iddison
Video Example 65. Gregorio outlines and embellishes Sign of Four's arpeggiated chord changes, Judith A. Iddison
Video Example 66. Gregorio outlines Sign of Four changes using scalic approach and broken thirds, Judith A. Iddison
Video Example 67. Gregorio demonstrates Lydian scale over dominant 7, major and minor chords in Hungaria, Judith A. Iddison
Video Example 68. Exploration of modal jazz using short, syncopated, Lydian-based ideas for Hungaria improvisation, Judith A. Iddison
Video Example 69. Gregorio demonstrates Lydian-based ideas on Hungaria, Judith A. Iddison
Video Example 6. Gregorio imitates a brass section on Minor Swing through confident swing rhythm, syncopation, articulation and dynamics, Judith A. Iddison
Video Example 70. Gregorio teaches A flat whole-tone ideas, Judith A. Iddison
Video Example 71. Contrasting chromaticism and clearly outlined chords and incorporating whole-tone flavour in Hungaria improvisation, Judith A. Iddison
Video Example 72. Gregorio demonstrates G blues-based ideas for Swing 39, Judith A. Iddison
Video Example 73. Gregorio and I explore the 'crushed' blues grace-note idea through call and response, Judith A. Iddison
Video Example 74. Reversing roles in crushed grace-note call and response, Judith A. Iddison
Video Example 75. Pentatonic sequences as improvisational foundational for Swing 39, Judith A. Iddison
Video Example 76. Experimenting confidently holding randomly selected notes across Nuages' chord changes, Judith A. Iddison
Video Example 77. Gregorio sings a two-note, Lydian-based idea featuring sharp 4 and variations over Nuages’ changes, Judith A. Iddison
Video Example 78. Adding confident resolutions to phrases containing notes held across changes in Nuages, Judith A. Iddison
Video Example 79. Holding dissonant notes across changes in Nuages and resolving to 6th and 9th, Judith A. Iddison
Video Example 7. Gregorio further instructs on horn-like rhythms and trumpet-inspired drop-offs on Minor Swing, Judith A. Iddison
Video Example 80. Gregorio demonstrates a range of colourful improvisational options for Swing 39, Judith A. Iddison
Video Example 81. Gregorio demonstrates sliding-chromaticism (or chromatic 'noodling') as a transition device, Judith A. Iddison
Video Example 82. Alternating bars of Hungaria’s chords with sliding-chromaticism and ‘chromatic-waffle’ explanation, Judith A. Iddison
Video Example 83. Slurred and syncopated chromatic phrases in colourful Hungaria improvisation, Judith A. Iddison
Video Example 84. Alternating sliding-chromaticism and outlined chords, using slurs and beginning on the G string, Judith A. Iddison
Video Example 85. Gregorio teaches a sul ponticello-infused jazz vibrato, Judith A. Iddison
Video Example 86. Gregorio teaches subtleties of vibrato, articulation and sliding on a colourful Hungaria improvisation, Judith A. Iddison
Video Example 87. Compiled comping excerpts from Stage Two tuition, Judith A. Iddison
Video Example 88. Comping with pizzicato rhythm and montuno and pizzicato solo trading on Chan Chan, Judith A. Iddison
Video Example 89. Chan Chan 'vocal-like' improvisation, Judith A. Iddison
Video Example 8. Minor Swing improvisation with a focus on including triplets, syncopation and repetition, Judith A. Iddison
Video Example 90. Gregorio encourages connecting simple musical ideas to craft a well-shaped solo on Nuages, Judith A. Iddison
Video Example 91. Contrasting long notes and swung chromaticism in Hungaria improvisation with anticipated swing ending, Judith A. Iddison
Video Example 92. Gregorio and I trade solos on Swing 39, Judith A. Iddison
Video Example 93. Sign of Four rehearse Selepak’s composition Sign of Four, Judith A. Iddison
Video Example 94. Ten excerpts from Sign of Four's premiere performance, Judith A. Iddison
Video Example 95. Gregorio demonstrates creative warm-up exercises using foundational pentatonic patterns, Judith A. Iddison
Video Example 96. Gregorio discusses and demonstrates the application of chromatic patterns within improvisations, Judith A. Iddison
Video Example 97. Gregorio demonstrates jazz surround technique and discusses its similarity to the classical turn, Judith A. Iddison
Video Example 98. Gregorio reinforces swung, ghosting technique on a chromatic ‘bassline’ and Minor Swing, Judith A. Iddison
Video Example 99. Vocal-inspired solo over Englishman in New York changes, Judith A. Iddison
Video Example 9. Bariolage over Summertime rock feel, Judith A. Iddison
Unlocking students’ creative confidence through design thinking practices: A parallel mediation of collaboration and diversity, and creativity, Faisal Iddris, Agyapong, Emmanuel Mensah Kparl, and Philip Opoku Mensah
Diasporic challenges, domestic abuse and patriarchal norms experienced by migrant Pakistani women in Australia, Safia Iftikhar, Shajimon Peter, Vicki Banham, and Elizabeth Reid Boyd
Two strategies to improve stability in a precision-based task: Insights from the badminton short serve, Yochi Iino, Jodie Cochrane Wilkie, Senshi Fukashiro, Shinsuke Yoshioka, and Shayne Vial
A novel multi−agent deep reinforcement learning framework for fast frequency response in inverter−based hybrid power plants, Muhammad Ikram, Asma Aziz, and Daryoush Habibi
The ILESE project: Building an evidentiary database about students' use of learning environments, W. Imms, J. E. Morris, K. Day, C. Bradbeer, L. Lockhart-Barker, and C. Campbell
Evaluating ECHO2 biochar as sustainable bitumen binder modifier in road pavements: High-temperature performance characterisation, Adeel Iqbal, Nuha S. Mashaan, Themelina Paraskeva, and Mohamed A. Shahin
RViT-FusionNet: A local cross-attention feature fusion-based hybrid framework for brain tumor classification, Naima Islam, Sajeeb Kumar Ray, Md Anwar Hossain, and Syed Mohammed Shamsul Islam
Empowering neurodiverse talent in cybersecurity through fair and inclusive AI education, Sheikh Rabiul Islam, Yansi Keim, Mohiuddin Ahmed, Maanak Gupta, Ingrid Russell, and Mahmoud Abdelsalam
Pentyl grafting density thresholds for H2–water wettability on the (001) α-quartz surface under conditions relevant to underground hydrogen storage, Abdul Rauf Sungumo Ismail, Alireza Keshavarz, and Stefan Iglauer
Real-world treatment sequencing and survival in ROS1-rearranged NSCLC across evolving treatment eras: Findings from the AURORA multi-centre registry (AURORA-ROS1), Malinda Itchins, Marliese Alexander, Steven Kao, Adnan Nagrial, Lauren J. Brown, Samantha Bowyer, Sagun Parakh, Melissa Moore, Benjamin Y. Kong, Nicholas Yeo, Brett G.M. Hughes, Surein Arulananda, Venessa Chin, Lydia Warburton, Trisha Khoo, Antony J. Mersiades, Lilian Leigh, Jennifer Rogers, Nick Pavlakis, and Benjamin J. Solomon
Investigating policy enactment in community sport coaching: Directions for future research, Ben Ives, Dawn Penney, Jimmy O’Gorman, Adam J. Nichol, Paul Potrac, and Lee Nelson
The role of extra-/co-curricular activities and work on law graduates’ initial employment outcomes, Denise Jackson and Craig Cameron
Assessing transdisciplinary work-integrated learning for sustainable development: A programmatic approach, Denise Jackson, Claire Lambert, and Sonja Coetzee
Designing and evaluating quality transdisciplinary work-integrated learning: Insights into practice, Denise Jackson, Claire Lambert, and Sonja Coetzee
Curriculum approaches to strengthening student employability and improving graduate outcomes in the STM disciplines, Denise Jackson and Michael D. O’Connor
Employer perspectives on graduates’ professional identity formation in the workplace, Denise Jackson and Michael Tomlinson
Employer perspectives on professional identity and its role in graduate recruitment, Denise Jackson and Michael Tomlinson