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Submissions from 2019

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An analysis of the foot in turnout using a dance specific 3D multi-segment foot model, Sarah L. Carter, Alan Bryant, and Luke S. Hopper

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Facial re-enactment, speech synthesis and the rise of the Deepfake, Nicholas Gardiner

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Mozart sonatas K. 570, 282, 333, Geoffrey Lancaster

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The temptations of anthropocentra: Bardo in Macau, Katie Lavers and Jon Burtt

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Contemporary circus, Katie Lavers, Louis Patrick Leroux, and John Burtt

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Insight into sunset, Jonathan W. Marshall

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Night music (compositions, performance and improvisations) –and– Developing a chromatic-intervallic approach to jazz improvisation through reflexive practice. An exegesis, Jamie Oehlers

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The State of Dancingness: Staying with leaving, Jo Pollitt

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Writing as dancing: The dancer in your hands , a novella <>, Joanna Tollemache Pollitt

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Contemporary Chinese dance: the interweaving of tradition and modernity, Min Zhu

Submissions from 2018

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Spectator as traveller and performer as guide: a conversation on the pedagogy of site-specific, participatory and immersive performance, Frances Barbe and Renee Newman

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Creating a career as a woman composer: Implications for music in higher education, Dawn Bennett, Sally Macarthur, Cat Hope, Talisha Goh, and Sophie Hennekam

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Cognitive imagery training in a dancer’s deliberate practice: Skills development, confidence and creativity, Sasha Brampton

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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

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Lower leg and foot contributions to turnout in pre-professional female dancers: A clinical and kinematic analysis, Sarah Louise Carter

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

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The prevalence of generalized and syndromic hypermobility in elite Australian dancers, Cliffton Chan, Luke Hopper, Feili Zhang, Verity Pacey, and Leslie L. Nicholson

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Remnants of us: Collective dance-making as multi-art form praxis, Lucinda Coleman

The Fifth Sparrow: In Memory of Mollie Skinner, Susannah Conte

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Neoteric Drum Set Orchestration: An analysis of Nate Wood’s drumming on the music of Tigran Hamasyan, Ryan George Daunt

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Layered analytical graphs: analysing and composing using the harmonic techniques of Wayne Shorter and Chick Corea, Samuel Hadlow

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Integrating biomechanical and animation motion capture methods in the production of participant specific, scaled avatars, Luke Hopper and Nahoko Sato

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The inherent movement variability underlying classical ballet technique and the expertise of a dancer, Luke S. Hopper, Andries L. Weidemann, and Janet Karin

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Representations of decay in the works of Cat Hope, Stuart James and Lindsay Vickery

Beyond the Wall An opera for children in 2 acts –and– Toward a more engaging operatic genre for children An exegesis, Emma Michelle Jayakumar

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Joseph Haydn: The seven last words of Christ: Geoffrey Lancaster—fortepiano, Geoffrey Lancaster

Bodies at the threshold of the visible: photographic butoh, Jonathan W. Marshall

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The nervous stage: nineteenth-century neuroscience and the birth of modern Theatre by Matthew Wilson Smith (review), Jonathan W. Marshall

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Welcoming the challenge of the new, Jonathan W. Marshall Dr.

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Landscapes as graveyards: Spectral return and performativity in the contested landscape, Jonathan W. Marshall and Emily Duncan

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Toad media, Jonathan W. Marshall and Cat Hope

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Analysing intonation of the Pied Butcherbird, Jean-Michel Maujean

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I am here now: A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting: An exegesis, Michael McCall

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An exploration of trumpet valve rotation: Its mechanics, sound, and notation, Daniel Francis O'Connor

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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

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The rhythmic, harmonic and phrasing language of Lennie Tristano: Analysis and strategies for incorporation in modern jazz improvisation, Austin Salisbury

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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

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Creative awareness at LINK dance company 2017, Lauren Ebony Sherlock

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Vital performance: Culture, worldview, and romanticist performance practice with application in Franz Liszt’s Consolations and Années de Pèlerinage Première Année, Andrew John Snedden

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Resounding landscapes–combining psychogeography and elements of the landscape as composition, Cissi Tsang

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A Survey to Investigate the Participation of Female Jazz-Trained Instrumentalists at WAAPA and in Perth’s Professional Music Scene, Talya Valenti

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Walter Smith III: A comparison of improvisational techniques on “July” (2014) and “Stablemates” (2009), Tom Walsh

Where the desert meets the sea: A fusion and reimagining of Venetian and Ottoman soundscapes for the contemporary violin, Julia Watson

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Performance practice in Liszt’s Hungarian Rhapsodies: A comparison of the Liszt-Pupil recordings of Hungarian Rhapsody No.12, Nicholas Williams

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The special team elite, Soseh Yekanians

Submissions from 2017

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Tracing the ancestral roots and the flow of pedagogical practices in the development of ballet teaching from 1950 to 2016 in Perth, Western Australia, Diana C. M. Beck

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

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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 analyses of multi-segment foot motion in university-level ballet dancers, 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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Learning French in Western Australia: A hedonistic journey, Celine Doucet and Sabine Kuuse

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

Drumming Up the Future: Musical Creativity and Drum Circles as a vehicle for personal and social change, and for improved wellbeing amongst women in a pre-release facility, Nanna Faulkner

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

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Breaking curtain: Editorial, Susan Fenty Studham, Renee Newman, and Helen K. Rusak

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An introduction to voice in screenwriting, Rose Ferrell

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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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The decibel new music ensemble: artistic research in experimental music at the academy, Cat Hope

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Archiving Western Australian new music performance, Cat Hope, Adam Trainer, and Lelia Green

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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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A novel approach to timbre morphology: Audio-rate control of additive synthesis, Stuart James

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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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The rise and fall, and the rise (again) of feminist research in music: 'What goes around comes around', Sally Macarthur, Dawn Bennett, Talisha Goh, Sophie A. Hennekam, and Cat Hope

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

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A dramaturgy of montage and dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel, Jonathan W. Marshall

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Trophies Remain: The history of New Zealand resource extraction and the Meat Fence photo-project, Jonathan W. Marshall

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

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Identifying lower limb specific and generalised joint hypermobility in adults: validation of the Lower Limb Assessment Score, Kaitlyn J. Meyer, Cliffton Chan, Luke Hopper, and Leslie L. Nicholson

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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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She writes like she dances: Response and radical impermanence in writing as dancing, Jo Pollitt

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She writes like she dances: Response and radical impermanence in writing as dancing, Jo Pollitt

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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

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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 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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What is ERA really measuring?, Lyndall Adams, Clive Barstow, and Paul Uhlmann

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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

The role of health in the development of classical ballet in Western Australia 1950 to 2016, Diana de Vos, Lyndall Adams, and Luke Hopper

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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