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Submissions from 2023

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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

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Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training, Antje Diedrich and Frances Barbe

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Why is Austin Butler still speaking in his Elvis voice? It could be a case of ‘role spill’, Luzita Fereday

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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

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Video Example 10.'Filling in the gaps' of arpeggios, Judith A. Iddison

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Video Example 11. Improvising using the augmented second interval, Judith A. Iddison

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Video Example 12. Soloing on one, two and three strings, Judith A. Iddison

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Video Example 13. Improvising incorporating bigger intervals, Judith A. Iddison

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Video Example 14. Improvising with a D7 chord, Judith A. Iddison

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Video Example 15. Shifting fifths patterns, Judith A. Iddison

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Video Example 16. 'Outside' playing with pentatonic, Judith A. Iddison

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Video Example 17 Gregorio demonstrates rhythmic juxtaposition, Judith A. Iddison

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Video Example 18. Stylistic juxtaposition, Judith A. Iddison

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Video Example 1. The tabla and oud, Judith A. Iddison

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Video Example 20. Evoking flamenco vocal style, Judith A. Iddison

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Video Example 21. More elaborate ornamentation and hemiolas, Judith A. Iddison

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Video Example 22. Jazz influences, Judith A. Iddison

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Video Example 23. Bow percussion, Judith A. Iddison

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Video Example 24. Sequence to the stratosphere as part of Gregorio's cadenza(1), Judith A. Iddison

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Video Example 26. Gregorio comping, Judith A. Iddison

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Video Example 27. Blues-based ideas and motivic development in Swing 48, Judith A. Iddison

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Video Example 28. Improvisational fluency, surround technique, blues-based ideas, Judith A. Iddison

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Video example 29. Tension and release, 'horn-like' bent notes and Grappelliesque triplets, Judith A. Iddison

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Video Example 2. A 'great breath-like instrument', Judith A. Iddison

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Video Example 30. Bariolage and melodic devepment with extreme pitch, Judith A. Iddison

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Video Example 32. Opening phrase of Bollyrock, Judith A. Iddison

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Video Example 33. More elaborate ornamentation, Judith A. Iddison

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Video Example 34. Ornamental flourishes(2), Judith A. Iddison

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Video Example 35. Venturing 'outside' with arpeggiation, Judith A. Iddison

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Video Example 36. Birdcalls, Judith A. Iddison

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Video Example 38. Blues-based ideas with 'guitar' bends and wide vibrato, Judith A. Iddison

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Video Example 39. 'Horn-like', funk-based rhythms and blues-based ideas, Judith A. Iddison

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Video Example 3. A percussive chordal instrument and the African kora, Judith A. Iddison

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Video Example 40. Slides, wide vibrato and funk-based rhythms, Judith A. Iddison

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Video Example 42. Hints of melody amongst ornamental flourishes, Judith A. Iddison

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Video Example 43. Incorporating the augmented second and wide vibrato, Judith A. Iddison

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Video Example 44. Virtuosic flourish, Judith A. Iddison

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Video Example 45. Strong rhythms with extended harmonies, Judith A. Iddison

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Video Example 46. Incorporation of jazz language, Judith A. Iddison

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Video Example 47. Driving swing rhythm and half whole pattern, Judith A. Iddison

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Video Example 48. Driving syncopation, 'outside' harmonic tension and whole half, Judith A. Iddison

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Video Example 4. The African Kora, Judith A. Iddison

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Video Example 5. Octave viola, Judith A. Iddison

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Video Example 6. The phraseology of a saxophone, Judith A. Iddison

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Video Example 7. The nuances of a trumpet, Judith A. Iddison

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Video Example 8. Vibrato used to imitate a trumpet lip trill, Judith A. Iddison

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Video Example 9. Bow percussion, Judith A. Iddison

Performance and interpretation: Beethoven's Opus 110, Izaac J. Masters

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I am _your_ pyrate dancer: Choreographic computabilities dancing inside the interstices of a visceral world, Nancy Mauro-Flude and Jo Pollitt

Migraine Therapy, Peter Mcavan

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Re-enactment as conversation: Yoshiko Shimada’s becoming a statue of a Japanese comfort woman, Vahri Mckenzie and Jen Webb

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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

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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

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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

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Stick strokes and swing ratios of Billy Higgins, Benjamin Shelley

Larry Sitsky’s Century: A response to selected twentieth-century notation, associated piano techniques, and performance possibility, Hannah Th'ng

Square piano by Arnold Frederick Beck (London, 1780): Restorative conservation, what may be inferred, and a resultant teaching program, Paul L. Tunzi

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Fagotte forgotten? the bassoon in the early symphonies of Mozart, Haydn and contemporaries in the 1760s and 1770s, Katherine J. Walpole

Submissions from 2022

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Dietary iron and the elite dancer, Caitlin Attwell, Cory Dugan, Alannah K. A. McKay, Joanna Nicholas, Luke Hopper, and Peter Peeling

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Mindfulness, recovery-stress balance, and well-being among university dance students, Peta Blevins, Gene Moyle, Shona Erskine, and Luke Hopper

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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

How to succeed as a portfolio career percussionist in one of the world's most remote cities, Madeline G. Colvin

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With 9 Broadway musicals currently on Australian stages, musical theatre is thriving again, Craig Dalton

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Illuminating the motives of racism when adapting and directing The Merchant of Venice, Lucy Eyre

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The application of an ‘eternal dance’ methodology in the development of an original screenplay, Rose Ferrell

Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation, Damian T. Foley

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Between activism and academia: Zine-making as a feminist response to COVID-19, Emily M. Gray, Joanna Pollitt, and Mindy Blaise

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Circus-specific extension of the International Olympic Committee consensus statement: Methods for recording and reporting of epidemiological data on injury and illness in sport 2020, Stephanie Greenspan, David Munro, Joanna Nicholas, Janine Stubbe, Melanie I. Stuckey, and Rogier M. van Rijn

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Movement quantity and quality: How do they relate to pain and disability in dancers?, Danica Hendry, Amity Campbell, Anne Smith, Luke Hopper, Leon Straker, and Peter O’Sullivan

Talking back: A new theatrical representation of Noongar women's experience, Bobbi J. Henry

Maloya dance and music: Réunionese Créole togetherness, Marie-Muriel Hillion Toulcanon

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Out-of-hospital births and the experiences of emergency ambulance clinicians and birthing parents: A scoping review protocol, Michella Hill, Alecka Miles, Belinda Flanagan, Brennen Mills, and Luke Hopper

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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

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Apple’s iPod came out two decades ago and changed how we listen to music. Where are we headed now?, Stuart James

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Traditional exams, 21st century employability skills and COVID-19: Disruptive opportunities for rethinking assessment design in higher education, Andrew Kelly, Catherine Moore, and Emma Lyons

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An exploration of octatonicism: From Liszt to Takemitsu, Yagan M. Kiely

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Evaluating ideasthesia as a creative tool in compositional practice: A personal reflection on coloured hearing synesthesia, Suzanne Kosowitz

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Cirqiniq: The decolonising of Social Circus in Nunavik, Katie Lavers, Jon Burtt, and Emmanuel Bochud

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The art of experiencing: Appreciative actor training for developing well-being, artistry, and a ‘glowing individuality’, Jo Loth and Jeremy Neideck

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A new musical, Panawathi Girl, is a fantasy of Australia’s past – and a critique of Australia’s present, Jonathan W. Marshall

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Outside-in or inside–out? The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand: Part one, Jonathan W. Marshall

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Ragpickers & radical naturalism: The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand, part two, Jonathan W. Marshall

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The West Australian Ballet’s Swan Lake brings the story to Perth – but the Noongar elements never feel completely integrated, Jonathan W. Marshall

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Leadership in sustainability: Collective wisdom, conversations, creativity, contemplation and courage, the five pillars of a master’s teaching unit, Mike Mouritz, Peter Newman, Renée Newman, Jayne Bryant, Aimee Smith, and Elaine Olsen

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Developing an alcohol and other drug serious game for adolescents: Considerations for improving student engagement, Joanna Nicholas, Brennen Mills, Sara Hansen, Stephen J. Bright, Heather Boyd, Luke Brook, Jess Watson, and Luke Hopper

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Incidence, mechanisms, and characteristics of injuries in pole dancers: A prospective cohort study, Joanna Nicholas, G. Weir, J. A. Alderson, J. H. Stubbe, R. M. van Rijn, J. A. Dimmock, B. Jackson, and C. J. Donnelly

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Enacting a feminist pause: Interrupting patriarchal productivity in higher education, Jo Pollitt, Mindy Blaise, and Emily Gray

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63.5% of Australia’s performing artists reported worsening mental health during COVID, Helen Rusak

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Breathing through the pandemic: Performing arts challenges and responses to the mental health implications of COVID-19, Helen Rusak, Talisha Goh, Frances Barbe, Renée Newman, and Peta Blevins

Playing to the beat, a play, devising and collective creation in actor training, an exegesis, Andrew L. Smith

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Drum solo with Dorado - "Magic of Catalunya", Daniel Susnjar, Jayden Blockley, Will Pethick, Michael Ellis, and Tommi Flamenco

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Working together: Implications of leadership style for the music ensemble, Andrew Sutherland and Phillip A. Cartwright

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Stepping into the unknown: The experiences of tertiary piano students studying improvisation, Andrew Sutherland and Stewart Smith

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The 'marimba-vibe' double keyboard: An explorative investigation of a nascent solo percussion idiom, Paul Tanner

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Mindfulness in building a collaborative and sustainable choreographic practice, Casey Triplett

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Banksias under snow, Lindsay Vickery

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GreyWing: Banksias under snow at Ellenbrook Arts, Lindsay R. Vickery

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Emotional wellbeing, vulnerability and state-based choreography, Grace White