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
Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training, Antje Diedrich and Frances Barbe
Why is Austin Butler still speaking in his Elvis voice? It could be a case of ‘role spill’, Luzita Fereday
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
Video Example 10.'Filling in the gaps' of arpeggios, Judith A. Iddison
Video Example 11. Improvising using the augmented second interval, Judith A. Iddison
Video Example 12. Soloing on one, two and three strings, Judith A. Iddison
Video Example 13. Improvising incorporating bigger intervals, Judith A. Iddison
Video Example 14. Improvising with a D7 chord, Judith A. Iddison
Video Example 15. Shifting fifths patterns, Judith A. Iddison
Video Example 16. 'Outside' playing with pentatonic, Judith A. Iddison
Video Example 17 Gregorio demonstrates rhythmic juxtaposition, Judith A. Iddison
Video Example 18. Stylistic juxtaposition, Judith A. Iddison
Video Example 1. The tabla and oud, Judith A. Iddison
Video Example 20. Evoking flamenco vocal style, Judith A. Iddison
Video Example 21. More elaborate ornamentation and hemiolas, Judith A. Iddison
Video Example 22. Jazz influences, Judith A. Iddison
Video Example 23. Bow percussion, Judith A. Iddison
Video Example 24. Sequence to the stratosphere as part of Gregorio's cadenza(1), Judith A. Iddison
Video Example 26. Gregorio comping, Judith A. Iddison
Video Example 27. Blues-based ideas and motivic development in Swing 48, Judith A. Iddison
Video Example 28. Improvisational fluency, surround technique, blues-based ideas, Judith A. Iddison
Video example 29. Tension and release, 'horn-like' bent notes and Grappelliesque triplets, Judith A. Iddison
Video Example 2. A 'great breath-like instrument', Judith A. Iddison
Video Example 30. Bariolage and melodic devepment with extreme pitch, Judith A. Iddison
Video Example 32. Opening phrase of Bollyrock, Judith A. Iddison
Video Example 33. More elaborate ornamentation, Judith A. Iddison
Video Example 34. Ornamental flourishes(2), Judith A. Iddison
Video Example 35. Venturing 'outside' with arpeggiation, Judith A. Iddison
Video Example 36. Birdcalls, Judith A. Iddison
Video Example 38. Blues-based ideas with 'guitar' bends and wide vibrato, Judith A. Iddison
Video Example 39. 'Horn-like', funk-based rhythms and blues-based ideas, Judith A. Iddison
Video Example 3. A percussive chordal instrument and the African kora, Judith A. Iddison
Video Example 40. Slides, wide vibrato and funk-based rhythms, Judith A. Iddison
Video Example 42. Hints of melody amongst ornamental flourishes, Judith A. Iddison
Video Example 43. Incorporating the augmented second and wide vibrato, Judith A. Iddison
Video Example 44. Virtuosic flourish, Judith A. Iddison
Video Example 45. Strong rhythms with extended harmonies, Judith A. Iddison
Video Example 46. Incorporation of jazz language, Judith A. Iddison
Video Example 47. Driving swing rhythm and half whole pattern, Judith A. Iddison
Video Example 48. Driving syncopation, 'outside' harmonic tension and whole half, Judith A. Iddison
Video Example 4. The African Kora, Judith A. Iddison
Video Example 5. Octave viola, Judith A. Iddison
Video Example 6. The phraseology of a saxophone, Judith A. Iddison
Video Example 7. The nuances of a trumpet, Judith A. Iddison
Video Example 8. Vibrato used to imitate a trumpet lip trill, Judith A. Iddison
Video Example 9. Bow percussion, Judith A. Iddison
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
Migraine Therapy, Peter Mcavan
Re-enactment as conversation: Yoshiko Shimada’s becoming a statue of a Japanese comfort woman, Vahri Mckenzie and Jen Webb
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
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
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
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
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
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
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
Drum solo with Dorado - "Magic of Catalunya", Daniel Susnjar, Jayden Blockley, Will Pethick, Michael Ellis, and Tommi Flamenco
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
Banksias under snow, Lindsay Vickery
GreyWing: Banksias under snow at Ellenbrook Arts, Lindsay R. Vickery
Emotional wellbeing, vulnerability and state-based choreography, Grace White