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Submissions from 2020

The Jekyll’s Hide Project. Devising Jekyll’s Hide: A critical analysis of the performative elements and working methods of Jerry Lewis and the butoh dancers Tatsumi Hijikata and Kazuo Ohno, Hugo Belviso

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Student and teacher attitudes towards overtraining and recovery in vocational dance training, Peta Blevins, Shona Erskine, Moyle, and Hopper

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Rebuilding as Research: Noongar song, language and ways of knowing, Clint Bracknell

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The Emotional Business of Noongar Song, Clint Bracknell

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Performing water: Site-specific dance-making as liquid art, Lucinda Coleman

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Does the longitudinal development of physical and anthropometric characteristics associate with professional career attainment in adolescent Australian footballers?, Ashley J. Cripps, Harry G. Banyard, Carl T. Woods, Christopher Joyce, and Luke S. Hopper

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Dancers' joint strategies for achieving turnout in low and high friction conditions, Rebekha Duncan, Catherine Wild, Leo Ng, Danica Hendry, Sarah Carter, Luke Hopper, and Amity Campbell

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Friday essay: vizards, face gloves and window hoods – a history of masks in western fashion, Lydia Edwards

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How to read a suit: A guide to changing men’s fashion from the 17th to the 20th Century, Lydia Edwards

The erotic theatre of the pool edge: a short history of female swimwear, Lydia Edwards

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Development of a human activity recognition system for ballet tasks, Danica Hendry, Kevin Chai, Amity Campbell, Luke Hopper, Peter O'Sullivan, and Leon Straker

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An exploration of machine‐learning estimation of ground reaction force from wearable sensor data, Danica Hendry, Ryan Leadbetter, Kristoffer McKee, Luke Hopper, Catherine Wild, Peter O’Sullivan, Leon Straker, and Amity Campbell

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Sustaining dancer wellbeing through independent professional dance careers, Luke S. Hopper, Peta Blevins, Shona Erskine, Danica Hendry, Raewyn Hill, and Richard Longbottom

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My hall. A stage play and My Hall: Excavating, shaping and sharing the memory of Hale School’s Memorial Hall through a site-specific, staged performance. An exegesis, Julia Jarel

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Facilitating flow state: Preparatory processes for entering the flow state in dance, Alexandra Kay

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Johann Melchior Gletle’s Expeditionis Musicæ Classis II, Op. 2: An Edition and Commentary, Michael James Clifton Lukin

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Préface (English translation), Jonathan W. Marshall

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Dancing the Ghosts of the Asian Diaspora: an Interview with Michael Sakamoto, Jonathan W. Marshall

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Slow making in five short blasts, Renee Newman

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“You crossed my mind … before?”: An intertextual analysis of songs from 'To Pimp A Butterfly', Colin Outhwaite

The evolving definitions of natural movement in dance, Bethany Reece

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Integrating the musical, the natural, and the improvised: David Rothenberg and multispecies musicking, Robin Ann Ryan

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Towards a declamatory performance in Schubert Lieder, Olivia Claire Sanders Robinson

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Friday essay: training a new generation of performers about intimacy, safety and creativity, David Shirley

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Julien Wilson: Improvisation and timbral manipulation on selected recordings with the Julien Wilson Trio, Maximillian Wickham

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A study on performing the Hungarian Rhapsodies in the Liszt tradition, Nicholas Mark Williams

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Finding identity through directing, Soseh Yekanians

Submissions from 2019

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Phantoms [CD], Nicholas Abbey

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A bit of a departure, Nicholas Abbey, L Davies, and Fiona Lawe Davies

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Phantoms, An original jazz trio studio recording - and - Dispelling phantoms: An Australian bassist exploring assumptions of jazz practice, An exegesis, Nicholas Leonard Abbey

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Cultural responses to occupation in Japan: The performing body during and after the Cold War, by Adam Broinowski, Frances Barbe

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Embodying imagination: Butoh and performer training, Frances Barbe

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Hiding gender: How female composers manage gender identity, Dawn Bennett, Sophie Hennekam, Sally Macarthur, Cat Hope, and Talisha Goh

Dancing through it: Enhancing psychological recovery in dance, Peta A. L. Blevins

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Finding your Balance: An Investigation of recovery–stress balance in vocational dance training, Peta Blevins, Shona Erskine, Luke Hopper, and Gene Moyle

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Ever-widening circles: Consolidating and enhancing Wirlomin Noongar archival material in the community, Clint Bracknell and Kim Scott

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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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Participant spectator meeting places, Lucinda Coleman

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Can coaches predict long-term career attainment outcomes in adolescent athletes?, Ashley J. Cripps, Luke S. Hopper, and Christopher Joyce

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Pier Francesco Valentini’s Il leuto anatomizzato (c.1650): A translation and commentary - Investigating transposition, intabulation, and other aspects of Roman lute practice. A translation of Il leuto anatomizzato - and - A contextualising essay, Aidan Paul Deasy

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The Performer-Composer: A reimagined career pathway for the modern-day saxophonist, Jazmin Ealden

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Friday essay: shaved, shaped and slit - eyebrows through the ages, Lydia Edwards

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

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Re-Composing Feminism: Australian women composers in the new millennium, Talisha Goh

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Giving voice to the extra-normal self with the extra-normal voice: Improvised exploration through the realms of shamanic chaos magick, insight meditation and gender performance, Sage Harlow

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An exploration of pre-professional dancers' beliefs of the low back and dance-specific low back movements, Danica Hendry, Leon Straker, Amity Campbell, Luke Hopper, Rhianna Tunks, and Peter O'Sullivan

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An international perspective on managing a career as a woman composer, Sophie Hennekam, Dawn Bennett, Sally Macarthur, Cat Hope, and Talisha Goh

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Professional development: Life or death after pre-service training?, Christine Higginbotham

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Hollywood may be able to afford #MeToo, but it’s a stretch for the Australian arts, Luke Hopper and Mark Cariston Seton

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Polite patriotism: The Edwardian gentleman in English music, 1904 to 1914, Paul Hopwood

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

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Through the lens of esoteric thought: Joseph Haydn's The Seven Last Words of Christ on the Cross, 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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Empowering the next generation of actors through the creation of student-centred self-devised dramatic work, Andrew Lewis and Lyndall Adams

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Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis, Glyn Alan MacDonald

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Insight into sunset, Jonathan W. Marshall

Female to male gender transition in Perth and WA: an exploration through documentary film production, Jonathan W.A. Messer

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Evidencing slow making in one-to-one performance at Proximity Festival, Renée Newman

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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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Limited hangout: In the field: Season 1, Sage Pbbbt, Lindsay Vickery, Olivia Davies, Josten Myburgh, Pippin Kenworthy, and Mace Francis

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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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No human ever made a cathedral such as this: Scoping the ecology of the carols by candlelight effect in Australia’s open-air environments, Robin Ryan

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Welcome to the peoples of the mountains and the sea: Evaluating an inaugural indigenous cultural festival, Robin Ryan and Uncle Ossie Cruse

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Monologuing the music: A new actor training practice for new times, Nicole Stinton

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The grain of the digital audio workstation, Michael Terren

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Composing soundscapes from a single field recording, Cissi Tsang

Never Far Away [Music CD], Teresa Vinci

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Performance practice in Hungarian folk music and its relationship to the Style Hongrois, Teresa Vinci

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The canvas mode: Rapid prototyping for the Decibel ScorePlayer, Aaron Wyatt, Lindsay Vickery, and Stuart James

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Unlocking the Decibel ScorePlayer, Aaron Wyatt, Lindsay Vickery, and Stuart James

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

Submissions from 2018

WAAPA Gospel Choir arrangements for Signed Sealed Delivered: The Music of Stevie & Aretha, Matthew Allen, Western Australian Academy of Performing Arts Gospel Choir, and Perth Symphony Orchestra

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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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The interaction between postminimalist music and contemporary dance, Azariah Felton

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Field notes for an Australian production of The Beautiful Game: A case study in coaching challenges, Luzita Fereday

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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

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The foundations of speech-melody composition and the dawn of the digital music era, Jonathan Maltman and Lindsay Vickery

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

The space between, Emma Matthews, Jamie Oehlers, Paul Grabowsky, and Steve Vizard

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Analysing intonation of the Pied Butcherbird, Jean-Michel Maujean