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Submissions from 2020

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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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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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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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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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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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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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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 This, 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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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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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

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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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

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Analysing intonation of the Pied Butcherbird, Jean-Michel Maujean

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I am here now: A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting: An exegesis, Michael McCall

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An exploration of trumpet valve rotation: Its mechanics, sound, and notation, Daniel Francis O'Connor

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Towards a notation for trumpet valve rotation, Dan O’Connor and Lindsay Vickery

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A case for innovation in jazz through integration of the digital/moving image, Tom O'Halloran

Developing approaches to jazz improvisation and composition via Messiaen’s Vingt regards sur l'enfant-Jésus, Tom O'Halloran

Improvised solo piano performance, Tom O'Halloran

New directions in jazz, Tom O'Halloran, Niran Disaka, Ben Vanderwall, and Zac Grafton

Guitaromanie: Vivifying rare 19th century guitar works, Jonathan R. Paget

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Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall, Victoria Rogers

Sing the Karri, Sculpt the Jarrah: Sustaining old-growth forest through the arts, Robin Ryan

'You’re Messin’ up my Mind': Why Judy Jacques Avoided the Path of the Pop Diva, Robin Ryan

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The rhythmic, harmonic and phrasing language of Lennie Tristano: Analysis and strategies for incorporation in modern jazz improvisation, Austin Salisbury

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Reliability of the evaluation of humanoid animation as a visualizing tool in hip-hop dance, Nahoko Sato and Luke S. Hopper

Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition, Tsu Tham Tommy Seah

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Creative awareness at LINK dance company 2017, Lauren Ebony Sherlock

Beethoven triple concerto, Anna Sleptsova, Louise McKay, Rebecca Glorie, and Mark Coughlan

Frédéric Chopin: Poet of the piano, Anna Sleptsova, Louise McKay, Izaac Masters, Jordan Proctor, Chern Xi Khor, Mae Anthony, Nicholas Williams, Julian Wheeler, Emma Davis, Mitchell Price-Norgaard, Xiaosong Liu, and Ryan Davies

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Vital performance: Culture, worldview, and romanticist performance practice with application in Franz Liszt’s Consolations and Années de Pèlerinage Première Année, Andrew John Snedden

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Spark, Daniel Susnjar

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Siliceous: speculative mimesis and the grain of the digital audio workstation, Michael Terren

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Resounding landscapes–combining psychogeography and elements of the landscape as composition, Cissi Tsang

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A Survey to Investigate the Participation of Female Jazz-Trained Instrumentalists at WAAPA and in Perth’s Professional Music Scene, Talya Valenti

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Some approaches to representing sound with colour and shape, Lindsay Vickery

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Lines of flight, Lindsay Vickery, Catherine Ashley, Jameson Feakes, and Kirsten Smith

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Nature forms I, Lindsay Vickery, Catherine Ashley, Jameson Feakes, and Kirsten Smith

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Walter Smith III: A comparison of improvisational techniques on “July” (2014) and “Stablemates” (2009), Tom Walsh

Where the desert meets the sea: A fusion and reimagining of Venetian and Ottoman soundscapes for the contemporary violin, Julia Watson

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On the town: The best of Bernstein, West Australian Symphony Orchestra and Matthew Styles

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Performance practice in Liszt’s Hungarian Rhapsodies: A comparison of the Liszt-Pupil recordings of Hungarian Rhapsody No.12, Nicholas Williams

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The special team elite, Soseh Yekanians

Submissions from 2017

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Tracing the ancestral roots and the flow of pedagogical practices in the development of ballet teaching from 1950 to 2016 in Perth, Western Australia, Diana C. M. Beck

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Re-imagining the development of circus artists for the twenty-first century, Jon Burtt and Katie Lavers

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Lower leg and foot contributions to turnout in university-level female ballet dancers: A preliminary investigation, Sarah Carter, Alan R. Bryant, and Luke Hopper

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Lower-leg and foot contributions to turnout in university-level female ballet dancers: A preliminary investigation, Sarah L. Carter, Alan R. Bryant, and Luke S. Hopper

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Kinematic repeatability analyses of multi-segment foot motion in university-level ballet dancers, Sarah Carter, Nahoko Sato, and Luke Hopper

Sites of justice: Face-to-face encounters through dance-making in Meeting Places, Lucinda Coleman

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Investigating register preferences in the female singer of contemporary commercial music, Tracey Cooke