Submissions from 2025
Art in public: Potential public pedagogy post-pandemic, Lyndall Adams, Nicola Kaye, Emma Jayakumar, Clive Barstow, and Harrison See
Performance health for saxophonists: Exploring methods for peak performance and injury prevention, Nicola Demandolx
Performance health for saxophonists: Saxophonists perspectives and experiences with playing-related health, wellbeing, injuries and education (cohort study), Nicola Demandolx, Joanna Nicholas, Luke Hopper, and Matt Styles
An exploration and contextualization of two Mediterranean guitar sonatas by Angelo Gilardino (1941-2022), Ethan Alexander Dorrian
Developing an inclusive dance guide for children with cerebral palsy: A co-design process and initial feasibility study, Eduardo Duarte Machado, Laura Miller, Joanna Nicholas, Joanne Cross, Rhyannon Orr, and Michael H. Cole
Reframing Boleslavsky: A method for the maximisation of the utility and aesthetics of trumpet performance in musical theatre, Adrian Kelly
Circus for social change: Social circus in context, Katie Lavers, Jon Burtt, and Emmanuel Bochud
Butoh and Suzuki performance in Australia: Bent legs on strange grounds, 1982–2023, Jonathan W. Marshall
Children dancing in Bali: Practice, performance, and power, Jonathan McIntosh
Circus-specific extension of the 6th International Consensus Statement on Concussion in Sport, David Munro, Stephanie Greenspan, Joanna Nicholas, and Melanie I. Stuckey
You just haven't earned it yet, baby: Authenticating popular music tribute shows, Colin James Outhwaite
Clouds running out of juice: A special podcast episode featuring Tim Winton’s climate fiction, Rumen Rachev, Jo Pollitt, and Emma Nicoletti
Joy, connectedness and empowerment in Kimberley Aboriginal women’s musicking, Brigitta Scarfe
Place, David Shirley
Acting as song: A holistic pedagogy for sung characterisation in music theatre, Nicole Desiree Stinton
Mental health in preprofessional and professional circus artists: A narrative review, Melanie I. Stuckey, Stephanie Greenspan, Joanna Nicholas, Veronique Richard, Janine H. Stubbe, and Fleur E.C.A. van Rens
The enigmatic pianist Arthur Friedheim: A revised biography and study of his training, performing, writings, teaching and editions, Nicholas Mark Williams
Submissions from 2024
Coordinating the telematic music performance experience with telemidi: Synchronising nodes, enhancing musicality, and delivering simultaneity, Matthew Clive Bray
Pleasures and politics: Moving towards a feminist performance practice, Delaney Burke
Developing a framework for musical ekphrasis in jazz composition, Jessica Carlton
Becoming, Lucinda Coleman
Te Wakahuia: Coming to know lineage through dance improvisation and archival poetics, Harrison Cook
Producing ‘bedroom pop’ music: A compositional project that employs production and compositional techniques identified through analysis of select Chelsea Cutler songs, Anna Therese Dabbs
An immersive study of the artistry of Gilbert Biberian —guitarist, composer, and pedagogue— and creative responses from a musical apprenticeship, Stephanie J. Darcey
Moving beyond recovery and reconstruction: Imagining extreme event preparedness through performing arts, Jane W. Davidson, Sarah Woodland, Helena Grehan, Simonne Pengelly, and Linda Hassall
The early string chamber music of Agnes Zimmermann, Miranda Dyskin
A practice-led investigation into applying the pianistic qualities of guitarist Lenny Breau’s artificial harmonics to a contemporary music setting, Joshua Luke Fairweather
Here there again: Sexism’s everyday spaces within Australian universities, Emma Fishwick
Scaling up: Teaching contemporary music through repertoire structures, Sean Foran, Vincent Perry, Jade O'Regan, and Tom O'Halloran
Australian university websites as colonialities of gender, Emily M. Gray, Ampersand Pasley, Emma Fishwick, Mindy Blaise, Jacqueline Ullman, and Maria Delaney
Sexisms and un/welcome diversity in Australian universities, Emily M. Gray, And Pasley, Mindy Blaise, Jacqueline Ullman, and Emma Fishwick
Creatively reimagining place and community in a world of extreme weather, Helena Grehan, Belinda Smaill, and Michael J. Ostwald
Out-of-hospital birth training, experience and confidence of Australian rural volunteer ambulance officers, Michella G. Hill, Belinda Flanagan, Sara Hansen, Luke Hopper, and Brennen Mills
The complete John Cage variations, Stuart James, Lindsay R. Vickery Dr, Cat Hope, A. Wyatt, and T. Parr
Aggression and violence in the emergency department: A qualitative study exploring the perspectives of frontline healthcare professionals, Joshua Johnson, Sara Hansen, Luke Hopper, Luke Brook, Jess Watson, and Brennen Mills
Immersive virtual reality aggression and violence management education for nursing students: A pre-test, post-test, follow-up evaluation, Joshua Johnson, Sara Hansen, Luke Hopper, Jessica Watson, Sean Cashman, Wyatt De Souza, and Brennen Mills
US Armenian female playwrights writing the Catastrophe in the post-civil rights era, Sebnem Nazli Karali
The lyraflügel: Its history, design, and place in cultural heritage collections, Elly M. Langford
Creative tools and the softwarization of cultural production, Frédérik Lesage and Michael Terren
Movement in 2D: Analysing notation systems for movement-based percussion, Cassandra Loy
Applying the principles of periodisation to supplementary training for dance to reduce risks of overtraining, Sophie Molony
Green utopias: A possible green ground for performing arts training, Renee Newman, Alexa Taylor, Luke Cowling, Jason Garbenis, Tom Heath, Fleur Kingsland, Vahri Mckenzie, Jeremy Neideck, Richard Reddrop, and Simon Stewart
Exploring the psychological and physiological outcomes of recreational pole dancing: A feasibility study, Joanna Nicholas, James A. Dimmock, Jacqueline A. Alderson, Cyril J. Donnelly, and Ben Jackson
Dissonance in focus, Jamie Oehlers
Refraction - melody used to develop non-functional harmony, Jamie Oehlers
Artists' perspectives: Jazz in Australia - The state of play, Jamie Oehlers, Andrea Keller, Gian Slater, Phil Slater, Kristin Berardi, Simon Barker, and Stephen Magnusson
Performing Britishness: Identity and popular music tribute shows in Perth, Western Australia, Colin Outhwaite
Steve Grossman, the catalyst: A practice-led research investigation into developing a chromatic approach to improvisation, Joshua Parker
Technique reframed body reimagined, Susan D. Peacock
Forecast, Jo Pollitt, Lilly Blue, Dianne Jones, and Eva Fernandez
Postgraduate research in music: A step-by-step guide to writing a thesis, Victoria Rogers
Music as a determinant of health among First Nations people in Australia: A scoping narrative review, Brigitta Scarfe, Kristy Apps, Naomi Sunderland, Phil Graham, Brydie Leigh Bartleet, Glenn Barry, Darren Garvey, Rae Cooper, and Clint Bracknell
Music across generations: Exploring intergenerational First Nations musical practices as cultural determinants of health, Naomi Sunderland, Glenn Barry, Phil Graham, Darren Garvey, Brydie Leigh Bartleet, Brigitta Scarfe, Kristy Apps, Rae Cooper, Clint Bracknell, and Kerry Hall
Representing the climate crisis: Aesthetic framings in contemporary performing and visual arts, Susanne Thurow, Helena Grehan, and Maurice Pagnucco
Submissions from 2023
Timing is everything, but does it really matter? Impact of 8-weeks morning versus evening iron supplementation in ballet and contemporary dancers, Caitlin Attwell, Alannah McKay, Marc Sim, Cory Dugan, Joanna Nicholas, Luke Hopper, and Peter Peeling
An investigation into theories of odd meter and their application to jazz composition and improvisation, Kristian Borring
The nexus between warm up preparation and optimal performance, Elizabeth Chapman
The brink: Receptive generosity and kindness in the development of a choreographic pedagogy of consent for actor training, Samantha Chester and Renee Newman
Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training, Antje Diedrich and Frances Barbe
The space between writing and dancing: Dancingwords/wordsthatdance, Lara Dorling
Why is Austin Butler still speaking in his Elvis voice? It could be a case of ‘role spill’, Luzita Fereday
Playing music: Reconsidering game pieces through tabletop roleplaying game design, Izabelle French
Paramedic training, experience, and confidence with out-of-hospital childbirth (OOHB) in Australia, Michella G. Hill, Belinda Flanagan, Brennen Mills, Sara Hansen, and Luke Hopper
"I don't want to dance anymore" - rediscovering the joy of dance beyond chronic pain, Amelie K. Ladyman
Chopin’s polonaise in ab major, op.53: Constructing an informed interpretation, Arielle X. Lu
Tony Yap and Diasporic Post-Butoh in Australia, Jonathan W. Marshall
Performance and interpretation: Beethoven's Opus 110, Izaac J. Masters
I am _your_ pyrate dancer: Choreographic computabilities dancing inside the interstices of a visceral world, Nancy Mauro-Flude and Jo Pollitt
I think things are precious, Vahri McKenzie
Careful and curious: A transformative ethos for artistic evaluation, Vahri McKenzie, Denise Thwaites, and Cathy Hope
Re-enactment as conversation: Yoshiko Shimada’s becoming a statue of a Japanese comfort woman, Vahri Mckenzie and Jen Webb
Director training: A mine field or brave new world?, Gabrielle Metcalf and Andrew Lewis
Flow-state in Noongar performance, Kyle J. Morrison
Catastrophes, Renee Newman and Ella Hetherington
Investigating pre-professional dancer health status and preventative health knowledge, Joanna Nicholas and Sara Grafenauer
Sideffect GamePlan: Development of an alcohol and other drug serious game for high school students using a systematic and iterative user-centred game development framework, Joanna Nicholas, Brennen Mills, Sara Hansen, Stephen J. Bright, Joseph Scott, Imogen Ridout, Jess Watson, Heather Boyd, Luke Brook, and Luke Hopper
Psychological flow training: Feasibility and preliminary efficacy of an educational intervention on flow, Cameron Norsworthy, James A. Dimmock, Joanna Nicholas, Amanda Krause, and Ben Jackson
The mask & me: Exploring the correlations between autistic masking and performance, Mariah A. O'Dea
Leadership in interdisciplinary collaboration: Holding space for psychological safety and peak performance, Xin H. Ong
La guitaromanie (1829) by Charles De Marescot (1790–1842): Unpacking the imagery and music of an iconic nineteenth-century guitar book, Jonathan Paget
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
All ways fire she gives, Jo Pollitt
One mob dreaming: Cultivating a working model for song-sharing between Koori and non-Koori children in the Bega Valley, New South Wales, Robin Ryan Cruse and Uncle Ossie Cruse
Stick strokes and swing ratios of Billy Higgins, Benjamin Shelley
Exploring a feminist reclamation of Medea through percussion theatre, Mercedes A. Slack-Smith
Celtic Baroque, Stewart J. Smith
The cartographies of place: Approaches to audio-visual composition incorporating aspects of place, Wing S. Tsang
Square piano by Arnold Frederick Beck (London, 1780): Restorative conservation, what may be inferred, and a resultant teaching program, Paul L. Tunzi
Fagotte forgotten? the bassoon in the early symphonies of Mozart, Haydn and contemporaries in the 1760s and 1770s, Katherine J. Walpole
A musical analysis of Tosin Abasi's contemporary guitar techniques, thumping and selective picking, on the madness of many (2016), Ashton Weaver
Exploring Nate Smith’s approach to improvising on the two-piece drum-kit through analysis of selected performances with the fearless flyers, Zachary S. Wise
Submissions from 2022
Dietary iron and the elite dancer, Caitlin Attwell, Cory Dugan, Alannah K. A. McKay, Joanna Nicholas, Luke Hopper, and Peter Peeling
Mindfulness, recovery-stress balance, and well-being among university dance students, Peta Blevins, Gene Moyle, Shona Erskine, and Luke Hopper
Performing kayepa dordok living waters in Noongar boodjar, South-Western Australia, Clint Bracknell, Pierre Horwitz, Trevor Ryan, and Jonathan W. Marshall
Writing for multiple voices: A compositional project that employs the vocal composition and arranging techniques used by Imogen Heap, Shanae E. Campbell