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Submissions from 2019

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su dansi. A dance film – and – Dancing elements: The making of su dansi - a dance film. An exegesis, Johanna Omodei

Su Dansi - Dance film, Johanna Omodei

Symbiotic relationship of still taken from Film Shoot 1, Johanna Omodei

Underwater cinematography in su dansi, Film Shoot 3, Mettams Pool, Johanna Omodei

Variation of timing in Alexandra Kay’s movement, Johanna Omodei

Wide Shot of dancers at Film Shoot 1, Serpentine Falls, Johanna Omodei

Forgotten Florestans: Leveraging exegetical analysis and historically-informed performance knowledge in romantic guitar works, Jonathan Paget and Paul Cesarczyk

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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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United as one, Reach For the Lazers (R4TL), Nick Hatcher, Stu Chapman, Victoria Newton, and Paul Larner

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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

Piano solo recital, Anna Sleptsova and Lee Bradshaw

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

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The situated performative: Considering the politics of the pause in performance, Alexa Taylor

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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

Instant cash, Tim White

Alchemy, Tim White, Michael Askill, and Defying Gravity Percussion Ensemble

Defying Gravity: Under the stars, Tim White and Defying Gravity Percussion Ensemble

Rhythms of life percussion festival, Tim White, Defying Gravity Percussion Ensemble, Fiona Digney, Robert Oetomo, and Aaron Logan

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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

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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

Joseph Haydn: The seven last words of Christ: Geoffrey Lancaster—fortepiano, Geoffrey Lancaster

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The multiple narratives of Cirque Du Soleil, Katie Lavers and L.P. Leroux

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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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Lara Stevens, Anti-war theatre after Brecht: Digital aesthetics in the 21st Century [Book review], 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

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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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Don't stop here, Harry Mitchell, Jamie Oehlers, Karl Florisson, Jeremy Thomson, and Daniel Susnjar

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Seeking basic needs and other tales of excess, Renee Newman and Ben Collins

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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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Miyan ki todi raga: Flute and classical guitar 1st movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades

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Raga Hamsadhwani / Yaman: Flute and classical guitar 2nd movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades

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Variations on Bhimpalasi: Flute and classical guitar 3rd movement, Glenn Rogers, Jonathan Paget, and Mary-Anne Blades

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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

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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

Tenacity: Solo recital, Matt Styles

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Spark, Daniel Susnjar

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What is possible or impossible to perform, Alexa Taylor

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Rocky Horror allegations throw a spotlight on acting boundaries, on and off stage, Leith Taylor

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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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kurui [2018] for bass clarinet, piano​/​melodica and percussion, Lindsay Vickery

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Sanctuary [2018] for percussion quartet, Lindsay Vickery

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

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takadanobaba [2018] for voice, violin, trumpet, alto saxophone, bass clarinet, electric guitar, prepared piano and percussion, Lindsay Vickery

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thalweg [2018] for electric guitar and electronics, Lindsay Vickery

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un paso al abismo [2018] for live soap opera feeds and performers, Lindsay Vickery

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Willson's Downfall [2018] for three performers and field recordings, 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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GreyWing - Artificial field (live recording), Lindsay Vickery, Matthew Burtner, Michael Terren, Vanessa Tomlinson, Ryan Burge, and Robert Erikson

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greywing - ex machina (live recording), Lindsay Vickery, Robert Erickson, Joanna Bailie, James Saunders, Camilla Hannan, Dane Yates, and Peter Ablinger

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

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

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