Submissions from 2023
Why is Austin Butler still speaking in his Elvis voice? It could be a case of ‘role spill’, Luzita Fereday
Migraine Therapy, Peter Mcavan
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
How to succeed as a portfolio career percussionist in one of the world's most remote cities, Madeline G. Colvin
With 9 Broadway musicals currently on Australian stages, musical theatre is thriving again, Craig Dalton
Illuminating the motives of racism when adapting and directing The Merchant of Venice, Lucy Eyre
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
Between activism and academia: Zine-making as a feminist response to COVID-19, Emily M. Gray, Joanna Pollitt, and Mindy Blaise
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
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
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
Apple’s iPod came out two decades ago and changed how we listen to music. Where are we headed now?, Stuart James
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
An exploration of octatonicism: From Liszt to Takemitsu, Yagan M. Kiely
Evaluating ideasthesia as a creative tool in compositional practice: A personal reflection on coloured hearing synesthesia, Suzanne Kosowitz
Cirqiniq: The decolonising of Social Circus in Nunavik, Katie Lavers, Jon Burtt, and Emmanuel Bochud
The art of experiencing: Appreciative actor training for developing well-being, artistry, and a ‘glowing individuality’, Jo Loth and Jeremy Neideck
A new musical, Panawathi Girl, is a fantasy of Australia’s past – and a critique of Australia’s present, Jonathan W. Marshall
Outside-in or inside–out? The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand: Part one, Jonathan W. Marshall
Ragpickers & radical naturalism: The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand, part two, Jonathan W. Marshall
The West Australian Ballet’s Swan Lake brings the story to Perth – but the Noongar elements never feel completely integrated, Jonathan W. Marshall
I am _your_ pyrate dancer: Choreographic computabilities dancing inside the interstices of a visceral world, Nancy Mauro-Flude and Jo Pollitt
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
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
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
Enacting a feminist pause: Interrupting patriarchal productivity in higher education, Jo Pollitt, Mindy Blaise, and Emily Gray
63.5% of Australia’s performing artists reported worsening mental health during COVID, Helen Rusak
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
Working together: Implications of leadership style for the music ensemble, Andrew Sutherland and Phillip A. Cartwright
Stepping into the unknown: The experiences of tertiary piano students studying improvisation, Andrew Sutherland and Stewart Smith
The 'marimba-vibe' double keyboard: An explorative investigation of a nascent solo percussion idiom, Paul Tanner
Mindfulness in building a collaborative and sustainable choreographic practice, Casey Triplett
Emotional wellbeing, vulnerability and state-based choreography, Grace White
Submissions from 2021
Minimising the risks of 21st Century violence: The balance of ethics and creativity in staging Simon Stephens’ Motortown, Michael Abercromby
Making the most of life’s uncertainty: An analysis of the philosophies and musical language of David Ades, Joshua Appleby
Adapting barbershop harmony for the saxophone quartet, Jonathon Astbury
Supporting the performance of Noongar language in Hecate, Clint Bracknell, Kylie Bracknell, Susan F. Studham, and Luzita Fereday
‘Shoulder to shoulder: Sweat and joy’–training with gravity and other myths, Jon Burtt, Katie Lavers, and Lachlan Binns
Entrepreneurial orientation among arts managers in Western Australia, Alistair J. Campbell and Helen Rusak
Performer training evolutions: NSP the firstborn son of SMAT, Chelsea Crothers
Transcreation of the accent class to the online platform, Acacia Daken
Applications of Béla Bartók's techniques of pitch organisation to jazz improvisation, Niran Jay Dasika
Flip flop: the un-Australian history of the rubber thong, Lydia Edwards
Understanding Stage Management in the 21st century in Australia: A Preliminary Survey, Ping Sum (Teresa) Fok
Melodic improvisation strategies found in the improvisation of Peter Bernstein, Samuel H. Forster
Tomasi Trumpet Concerto, Brent Grapes and West Australian Symphony Orchestra
TLC, Freddie Grigson, Tom O'Halloran, and Chris Tarr
Mapping the terrain, Chris Hay, David Shirley, Sarah Peters, and Soseh Yekanians
An examination of Graham Fitkin’s saxophone music and implications for the modern saxophonist, Sean Hayes
Development of a machine learning model for the estimation of hip and lumbar angles in ballet dancers, Danica Hendry, Kathryn Napier, Richard Hosking, Kevin Chai, Paul Davey, Luke Hopper, Catherine Wild, Peter O'Sullivan, Leon Straker, and Amity Campbell
2 minutes from home, Cat Hope, Tristan Parr, Aaron Wyatt, Louise Devenish, Lindsay Vickery, Stuart James, and Decibel New Music Ensemble
“Lady Essex Minuet” from Longman and Broderip’s Compleat Collection of 100 of the most favorite Minuets (ca. 1780), James Huntingford
Second movement—Larghetto con Espressione—of Sonata in B-flat major, Op. 12, no. 1 (1784) by Muzio Clementi, James Huntingford
Tasteful piano performance in classic-era Britain, James Huntingford
The improvisational art of Shenzo Gregorio: Exploring his transition from classical violinist to cross-genre improviser, Judith A. Iddison
Developing a music composition practice: Exploring the choreography of cymatics, Joshua Jervis
W.F. Bach & J.G. Müthel: Complete works for two fortepianos, Geoffrey Lancaster and James Huntingford
Cheek to cheek: Transforming a compositional practice through collaboration, Johannes Luebbers
Critical mimicry and the deadman dance: Marrugeku’s Burrbgaja Yalirra, Jonathan W. Marshall
Galup theatrical walking tour recalls the dancing and violence of the colonial encounter, Jonathan W. Marshall
Hysterical aesthetics in contemporary performance: Theatre, dance, voice, Jonathan W. Marshall
Design, sound and compositional aesthetic: The grand piano in late eighteenth-century London and Vienna, Izaac Masters
Representations of chronic migraine and therapy through new electronic music composition, Peter Mcavan
The Matusiflute: A bi-timbral flute modification and the cultural influences that inform its performance practice and repertoire, Joshua Gabriel McMahon
Exploring and reapplying Wayne Krantz’s method of constructing the album Greenwich Mean, Christian A. Meares
Multimodal learning for dyslexic musicians: Practical applications for adults, Melissa Mikucki
Creative constraints: Developing a method for restrictive jazz composition, Harry Mitchell
Development and feasibility of a mobile phone application designed to support physically inactive employees to increase walking, Joanna C. Nicholas, Nikos Ntoumanis, Brendan J. Smith, Eleanor Quested, Emmanuel Stamatakis, and Cecilie Thøgersen-Ntoumani
Perspectives on the relationship between theatre and education: A West Australian case study, Ceri Anne Nordling
Axiom [studio recording], Tom O'Halloran, Pete Jeavons, and Daniel Susnjar
From Iran to Australia: Intercultural encounters in music, Kate Pass
The art of unknowing: Using improvisation to explore kinaesthetic attention in contemporary dance repertoire, Jessica Pettitt
An investigative practice-led project into the vocal characteristics in Jeff Buckley’s song ‘Grace’, Madoc R. Plane
Weather bodies: Experimenting with dance improvisation in environmental education in the early years, Jo Pollitt, Mindy Blaise, and Tonya Rooney
Choreographing collaboratories: Studios of situated improvisations, Jo Pollitt, Sylvia Kind, Cristina Delgado Vintimilla, and Lilly Blue
Glass ceilings, glass harmonicas: Challenges for women in musical leadership, Helen Rusak
From the ground up: Growing an Australian Aboriginal cultural festival into a live musical community, Robin Ryan, Jasmin Williams, and Alison Simpson
Judges’ evaluation reliability changes between identifiable and anonymous performance of hip-hop dance movements, Nahoko Sato and Luke S. Hopper
Vital performance: Historically informed Romantic Performance in Cultural Context, Andrew John Snedden
From the sandy beaches of Crab Creek to the Tarkett of WAAPA: A case study of intrinsic praxis in teaching methods of movement, Simon Stewart and Renée Newman
Mementi: World premiere, Matthew Styles, Paul Tanner, and Adam Pinto
‘It’s All in The Timing’ – A Research Project that explores the complexities in the relationship of Actor to Audience, in Musical Theatre, Crispin Taylor
Sound art as ways of exploring aspects of space, Cissi Tsang
Mirovia Ocean for chamber orchestra and electronics, Lindsay Vickery
Graded exercise stress test scenarios and incidences for exercise physiologists: Is there scope for training and assessment via virtual reality technology?, Andrew Walsh, Brennen Mills, Sara Hansen, Luke Hopper, and Favil Singh
Exploring a compositional practice through the lens of The Butterfly Lovers Violin Concerto, Jie Hong Yang
Exercise 10 duet improvisation, Min Zhu
Exercise 11 crossed and circular walking, Min Zhu
Exercise 1 moving with focused consciousness, Min Zhu
Exercise 2 grounded walking, Min Zhu
Exercise 3 creating your space, Min Zhu
Exercise 4 qi ball improvisation, Min Zhu
Exercise 5 moving in the qi-field, Min Zhu