The Creative Arts Research Outputs (CARO) collection showcases non-traditional research outputs that exemplify high level creative inquiry at Edith Cowan University. These works sit alongside traditional research outputs such as scholarly books, journal articles and refereed conference publications and represent a significant category of research produced through creative practice.
CAROs encompass a wide range of creative forms and modes of production and are assessed using rigorous standards. Each output included in this collection has undergone a structured internal verification and peer review process to ensure it meets the recognised national definition of research. This process supports consistency, quality, integrity and transparency in the assessment of creative practice as research.
Accepted CAROs contribute to internal research reporting and demonstrate ECU’s commitment to creative research. The collection reflects the University’s approach to evaluating creative works with the same level of scholarly rigour applied to more traditional research outputs.
Submissions from 2024
Two schools, one Islam, Melanie Brooks
Pummeling, high definition cubes & beats flying beyond Dionysian Dread: A response to ATOTAL Tura Presented ATOTAL by Franck Vigroux & Antoine Schmitt, Jonathan W. Marshall
Hair autobiography, Donna J. Mazza
I woke before dawn thinking of Wagin, Donna J. Mazza
Rock, creation, night sky, Donna J. Mazza
Dissonance in focus, Jamie Oehlers
Refraction - melody used to develop non-functional harmony, Jamie Oehlers
The Moonlit Guitar: Historical Guitar Performance within 'Bel Canto' Arrangements, Jonathan Paget
The World in a Single Grain: Silver Sands Guitar Quartet [the CD], Jonathan Paget, Ingrid Riollot, Craig Lake, Ethan Dorrian, and D. Smallman
Boatbird, Jo Pollitt and Lilly Blue
Forecast, Jo Pollitt, Lilly Blue, Dianne Jones, and Eva Fernandez
Drumming Together: East Meets West Australia-China music collaborations in Nanjing and Guangzhou, Tim White
Let There Be Light: Illuminating performances of Erik Griswold’s ‘Strings Attached’, Tim White
Submissions from 2023
Vocal Arranging for 5 part Acapella Pop Voices, Matthew Allen
Everything went quiet, Cathy Henkel
Alluvial Gold, Stuart James, Louise Devenish, and E. Coates
Tony Yap and Diasporic Post-Butoh in Australia, Jonathan W. Marshall
I think things are precious, Vahri McKenzie
Catastrophes, Renee Newman and Ella Hetherington
Non-conventional approaches in improvisation: Monophonic accompaniment and negotiable harmony, Jamie Oehlers
East meets West: Cross-cultural imaginings, Jonathan Paget, Nick Abbey, Jamie Oehlers, Stewart Smith, S. Ding, L. Filipe, S. Li, T. Ye, and T. Yang
Nanjing Epiphanies, Jonathan R. Paget, Nick Abbey, Jamie Oehlers, Tim White, W. Ding, C. Huang, Geoffrey Lancaster, S. Ling, K. Ling, T. Tang, Y. Wang, and D. Ye
Silver Sands Guitar Quartet Debut: The World in a Single Grain, Jonathan Paget, Ingrid Riollot, Craig Lake, and Ethan Dorrian
All ways fire she gives, Jo Pollitt
From Source to Performance: Seicento Italy, Stewart Smith
Interpreting Ligeti's Volumina, Stewart Smith and Cat Hope
Celtic Baroque, Stewart J. Smith
Encounters: Things like this happen at sea, Paul G. Uhlmann and Alex Hamilton
Drums are the new violins: interrogating the role of percussion in a world in crisis, Tim White
Submissions from 2022
Sideffect gameplan: A gamified, branching narrative experience for alcohol and other drug education, Luke Hopper, Joanna Nicholas, Jessica Watson, L. Brook, Sara Hansen, J. Scott, Stephen Bright, and Brennen Mills
Chick, Donna J. Mazza
Harnessing improvised piano techniques to underscore The Glass Menagerie, Tom O'Halloran
Two studies in pitch strategies for solo piano improvisation, Tom O'Halloran
Black dogs & beyond: Reimagining works for concertante guitar and string quartet, Jonathan Paget, Semra Lee-Smith, Zak Rowntree, Sally Boud, and Jon Tooby
Symphonic miniatures of the napoleonic guitar, Jonathan Paget, M. Remaj, Craig Lake, and Geoffrey Lancaster
#FEAS Unfinished Business, Jo Pollitt, Mindy Blaise, and Emily Gray
Night Music in Madrid: Cimarosa Concerto, Matthew Styles
The ‘unrestricted’ saxophone ensemble, Matthew Styles
Medusoid, Lindsay R. Vickery
Dangerous liaisons: New creative directions for the percussionist/composer in the post-COVID age, Tim White
Submissions from 2021
Learning how to live with the unloved and disregarded: The common blowfish: Torquigener Pleurogramma, Lyndall Adams
Abstracting 'groove' and 'melody' within the jazz organ trio, Freddie Grigson, Tom O'Halloran, and Chris Tarr
Conversations around the kitchen table, Cathy Henkel and Sam Lara
Laura’s choice: feature documentary and series, Cathy Henkel and Sam Lara
2 minutes from home, Cat Hope, Tristan Parr, Aaron Wyatt, Louise Devenish, Lindsay Vickery, Stuart James, and Decibel New Music Ensemble
Contested spaces, Nicola Kaye, Stephen Terry, Lyndall Adams, and Marcella Polain
W.F. Bach & J.G. Müthel: Complete works for two fortepianos, Geoffrey Lancaster and James Huntingford
My Voice, A Trigger for Change, Tom O'Halloran
Axiom [studio recording], Tom O'Halloran, Pete Jeavons, and Daniel Susnjar
Earth, Sea, and Sky: Reimagining Australian Guitar Landscapes, Jonathan Paget
Grounded: Meaning, metaphor, and folksong reinterpretation in performances of works for voice and guitar, Jonathan Paget and Rachelle Durkin
The Children - Theatre Production, Andrew L. Smith
Experimental Vivaldi, Stewart Smith
Maurice Duruflé, Requiem Op 9: A New Reading, Stewart Smith
Re-imagining Plainsong – three new works, Stewart Smith
Four pictures from New York, Matthew Styles
Mementi World Premiere performance and Studio recording, Matthew Styles, Paul Tanner, and Adam Pinto
Peruano Canta Project, Daniel Susnjar
Eye of a rook, Josephine Taylor
Ancient oceans: Lapetus Ocean and Mirovia Ocean, Lindsay Vickery
Submissions from 2020
What led you here?, Lyndall Adams
Snow Black Angel, Colony, The Prospectors Palette, Clive Barstow
Hecate, Kylie Bracknell, Clint Bracknell, and Yirra Yaakin Theatre Company
Alluvium, Erin Coates, Stuart James, and Louise Devenish
Telematic Compositions, Cat Hope
Decibel Telematic Performances, Cat Hope, Louise Devenish, and A. Wyatt
Fauna, Donna Mazza
The fingerprint, Donna Mazza
The Last of its Kind, Donna Mazza
Non-symetrical sheets: A ‘flurried’ approach to rhythm, Jamie Oehlers
Pitch set construction and application to improvised solos, Jamie Oehlers
The dancer in your hands < >, Jo Pollitt
The master's new governess, Elizabeth Reid Boyd
Countering Anachronistic Basso Continuo Practice, Stewart Smith
Three Colombian Scenes: Concertino for saxophone and symphonic wind orchestra by Victoriano Valencia, Matthew Styles
The Recipe - Live Afro-Peruvian Jazz with the WAAPA Mini Big Band, Daniel Susnjar and L. Iffla
Land of smoke, Paul Uhlmann
Sea: The world is large. And Air: Silently Birds fly through us, Paul G. Uhlmann
Brave the Wave : leveraging COVID isolation to create new knowledge and innovation in Pandemic Art, Jonathon Jie Hong Yang, Maddie Ivy, and Tim White
Submissions from 2018
Variations on Bhimpalasi: Flute and classical guitar 3rd movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades
Submissions from 2017
Melodic Tension Balancing, Harry Mitchell, Jamie Oehlers, Daniel Susnjar, Jeremy Thompson, and Karl Florisson