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Submissions from 2020

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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

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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

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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Renegotiation of identity in Australia through the Reunionese art form, Marie-Muriel Hillion Toulcanon

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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

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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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How can Australian actor training be relevant in a world of 86 per cent unemployment?, Gabrielle Metcalf and Andrew Smith

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"We need to keep one eye open . . . ": Approaching butoh at sites of personal and cultural resistance, Jeremy Neideck

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Slow making in five short blasts, Renee Newman

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

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

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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Love is a temporary madness, Vanessa Perica and Vanessa Perica Orchestra

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

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The evolving definitions of natural movement in dance, Bethany Reece

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Examination of the evolution of multi-percussion, Thomas Alexander Robertson

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The divorce: A soap opera, Helen Rusak

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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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The impact of singing on pulmonary function and quality of life in patients with Muscular Dystrophy, Mia Simonette

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The surprising benefits of asynchronicity: Teaching music theatre online, Nicole Stinton

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Moment's notice, David Theak, Florian Ross, and Australian National Jazz Orchestra

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Notational strategies for integrating live performers with complex sounds and environments, Lindsay Vickery

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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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To Become Wind [Full Score], Jie Hong Yang

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Brave the wave, Jonathon Jie Hong Yang, Maddie Ivy, and Western Australian Academy of Performing Arts Classical Music Department

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Finding identity through directing, Soseh Yekanians

Submissions from 2019

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Phantoms [CD], Nicholas Abbey

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

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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

Water: Original score and sound design, Clint Bracknell

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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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Introduction and Interview: A multi-arts project, Jon Burtt, Katie Lavers, and Iqbal Barkat

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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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Choreography as landscape: Landscape discourse framing choreographic practice, Emma Fishwick

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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

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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Seasons of life, Glyn MacDonald, Western Australian Wind Symphony, Matt Styles, and Sam Perry

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The Voices Project: Antonin Artaud (1896 - 1948), Serge Gainsbourg (Lucien Ginsburg, 1928 - 1991), Denis Levant (1961), MC Solaar (Claude M'barali, 1969), Jonathan Marshall

Launch of the Online Refereed Journal Sound Scripts, vol. 6, iss 1 (2019), Jonathan W. Marshall

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Insight into sunset, Jonathan W. Marshall

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

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Sisters Akousmatica’s ‘expanded radio’ practice as radical feminist broadcast, Annika Moses and Lindsay Vickery

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

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Pole dancing for fitness: The physiological and metabolic demand of a 60-minute class, Joanna C. Nicholas, Kirsty McDonald, Peter Peeling, Ben Jackson, James Dimmock, Jacqueline A. Alderson, and Cyril J. Donnelly

Night music, Jamie Oehlers

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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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Night music [album launch tour], Jamie Oehlers, Ricki Malet, Harry Mitchell, Zac Grafton, and Ben Vanderwal

Dancer Bethany Reece responding to momentum of wave as it meets the land, Film Shoot 2, Mettams Pool, Johanna Omodei

Dancer Bethany Reece responding to water, Film Shoot 1, Serpentine Falls, Johanna Omodei

Opening footage of water in su dansi, Johanna Omodei

Sinking and rising underwater movement, Johanna Omodei