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Submissions from 2021

Minimising the risks of 21st Century violence: The balance of ethics and creativity in staging Simon Stephens’ Motortown, Michael Abercromby

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Making the most of life’s uncertainty: An analysis of the philosophies and musical language of David Ades, Joshua Appleby

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Adapting barbershop harmony for the saxophone quartet, Jonathon Astbury

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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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Supporting the performance of Noongar language in Hecate, Clint Bracknell, Kylie Bracknell, Susan F. Studham, and Luzita Fereday

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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

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Performer training evolutions: NSP the firstborn son of SMAT, Chelsea Crothers

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Transcreation of the accent class to the online platform, Acacia Daken

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Applications of Béla Bartók's techniques of pitch organisation to jazz improvisation, Niran Jay Dasika

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Flip flop: the un-Australian history of the rubber thong, Lydia Edwards

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Understanding Stage Management in the 21st century in Australia: A Preliminary Survey, Ping Sum (Teresa) Fok

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Tomasi Trumpet Concerto, Brent Grapes and West Australian Symphony Orchestra

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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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TLC, Freddie Grigson, Tom O'Halloran, and Chris Tarr

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Mapping the terrain, Chris Hay, David Shirley, Sarah Peters, and Soseh Yekanians

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An examination of Graham Fitkin’s saxophone music and implications for the modern saxophonist, Sean Hayes

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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

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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

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Tasteful piano performance in classic-era Britain, James Huntingford

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Developing a music composition practice: Exploring the choreography of cymatics, Joshua Jervis

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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

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Critical mimicry and the deadman dance: Marrugeku’s Burrbgaja Yalirra, Jonathan W. Marshall

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Galup theatrical walking tour recalls the dancing and violence of the colonial encounter, Jonathan W. Marshall

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Hysterical aesthetics in contemporary performance: Theatre, dance, voice, Jonathan W. Marshall

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Design, sound and compositional aesthetic: The grand piano in late eighteenth-century London and Vienna, Izaac Masters

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Exploring and reapplying Wayne Krantz’s method of constructing the album Greenwich Mean, Christian A. Meares

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Multimodal learning for dyslexic musicians: Practical applications for adults, Melissa Mikucki

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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

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Axiom [studio recording], Tom O'Halloran, Pete Jeavons, and Daniel Susnjar

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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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Weather bodies: Experimenting with dance improvisation in environmental education in the early years, Jo Pollitt, Mindy Blaise, and Tonya Rooney

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Glass ceilings, glass harmonicas: Challenges for women in musical leadership, Helen Rusak

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Judges’ evaluation reliability changes between identifiable and anonymous performance of hip-hop dance movements, Nahoko Sato and Luke S. Hopper

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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

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‘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

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Sound art as ways of exploring aspects of space, Cissi Tsang

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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

Exercise 6 mapping, Min Zhu

Exercise 7 walking in the water with the Tai Ji diagram, Min Zhu

Exercise 8 pushing the stake with the body center, Min Zhu

Exercise 9 vibration of the lower dantian, Min Zhu

Penanegra show, Min Zhu

Submissions from 2020

Jekyll nightmare, Hugo Belviso

Jekyll on inversion table, Hugo Belviso

Jekyll's dance, Hugo Belviso

Jekyll's fall, Hugo Belviso

Jekyll's Hide compilation-trailer, Hugo Belviso

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

Vermin crawl, Hugo Belviso

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

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‘Come all savage creatures’: Becoming Bakkhai in the southwest of Western Australia, Kathy Boxall and Vahri McKenzie

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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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Mayakeniny: Restoring on-Country performance: Noongar performance and language resources, Clint Bracknell, Pierre Horwitz, Daniel McAullay, Linda Barwick, Aaron Allen, Bobbi Henry, Kyle Morrison, Trevor Ryan, and Amy Budrikis

Glass ceilings and nylon strings: Reflections on Australian women’s contribution to classical guitar repertoire, Abbey Lee Bradstreet

Voice in Motion: Connecting voice, acting and movement in contemporary dance, Sarah Chaffey

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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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Editorial introduction, Rose Ferrell and Rosanne Welch

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TLC Trio [performance], Freddie Grigson, Tom O'Halloran, and Chris Tarr

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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

Contextual tuning as a compositional technique: Investigating the paradigms of Jacob Collier’s music, Madeleine Hughes

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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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Trumpet playing in musical theatre: Shedding light on the pit, Adrian Kelly

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Unreal limbs: Erin Ball and the extended body in contemporary circus, Katie Lavers, Jon Burtt, and Erin Ball

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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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Traumatic dances of the ‘non-self’: Bodily incoherence and the hysterical archive, Jonathan Marshall

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Préface (English translation), Jonathan W. Marshall

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Richard Murphet, Acts of resistance in late-modernist theatre: Writing and directing in contemporary theatre practice [Book review], 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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Disciplined subjects and social performance: Entertainments at the Fremantle 'Lunatic' Asylum, 1873-1906, Jonathan W. Marshall

Investigations in learning and teaching through metacognition and critical and creative thinking practices in secondary Drama Education, Belinda Massey

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A multi-domain approach to assuring digital literacy in an undergraduate discipline, Mark McMahon, Jo Jung, and Luke Brook

Ballad, Christian Meares, Christopher Travaglini, and Joseph Powell

Pop, Christian Meares, Christopher Travaglini, and Joseph Powell

Rock, Christian Meares, Christopher Travaglini, and Joseph Powell

Six/Eight, Christian Meares, Christopher Travaglini, and Joseph Powell

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Slow making in five short blasts, Renee Newman

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Jamie Oehlers Double Drummer Band, Jamie Oehlers, Matt Gudgeon, Tal Cohen, Zac Grafton, Daniel Susnjar, and Ben Vanderwal

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Linda May Han Oh at the EFG London Jazz Festival, Linda May Han Oh, Fabian Almazan, Jamie Oehlers, and Ben Vanderwal

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

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The solo piano sonatas of Cipriani Potter (1792-1871): An analysis, reappraisal, and historical performance, Jordan Proctor