Submissions from 2020
Johann Melchior Gletle’s Expeditionis Musicæ Classis II, Op. 2: An Edition and Commentary, Michael James Clifton Lukin
Traumatic dances of the ‘non-self’: Bodily incoherence and the hysterical archive, Jonathan Marshall
Préface (English translation), Jonathan W. Marshall
Richard Murphet, Acts of resistance in late-modernist theatre: Writing and directing in contemporary theatre practice [Book review], Jonathan W. Marshall
Dancing the Ghosts of the Asian Diaspora: an Interview with Michael Sakamoto, Jonathan W. Marshall
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
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
How can Australian actor training be relevant in a world of 86 per cent unemployment?, Gabrielle Metcalf and Andrew Smith
"We need to keep one eye open . . . ": Approaching butoh at sites of personal and cultural resistance, Jeremy Neideck
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
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
“You crossed my mind … before?”: An intertextual analysis of songs from 'To Pimp A Butterfly', Colin Outhwaite
Love is a temporary madness, Vanessa Perica and Vanessa Perica Orchestra
The solo piano sonatas of Cipriani Potter (1792-1871): An analysis, reappraisal, and historical performance, Jordan Proctor
The evolving definitions of natural movement in dance, Bethany Reece
Examination of the evolution of multi-percussion, Thomas Alexander Robertson
The divorce: A soap opera, Helen Rusak
Integrating the musical, the natural, and the improvised: David Rothenberg and multispecies musicking, Robin Ann Ryan
Towards a declamatory performance in Schubert Lieder, Olivia Claire Sanders Robinson
Friday essay: training a new generation of performers about intimacy, safety and creativity, David Shirley
The impact of singing on pulmonary function and quality of life in patients with Muscular Dystrophy, Mia Simonette
The surprising benefits of asynchronicity: Teaching music theatre online, Nicole Stinton
Moment's notice, David Theak, Florian Ross, and Australian National Jazz Orchestra
Notational strategies for integrating live performers with complex sounds and environments, Lindsay Vickery
Julien Wilson: Improvisation and timbral manipulation on selected recordings with the Julien Wilson Trio, Maximillian Wickham
A study on performing the Hungarian Rhapsodies in the Liszt tradition, Nicholas Mark Williams
To Become Wind [Full Score], Jie Hong Yang
Brave the wave, Jonathon Jie Hong Yang, Maddie Ivy, and Western Australian Academy of Performing Arts Classical Music Department
Finding identity through directing, Soseh Yekanians
Submissions from 2019
Phantoms [CD], Nicholas Abbey
A bit of a departure, Nicholas Abbey, L Davies, and Fiona Lawe Davies
Phantoms, An original jazz trio studio recording - and - Dispelling phantoms: An Australian bassist exploring assumptions of jazz practice, An exegesis, Nicholas Leonard Abbey
Cultural responses to occupation in Japan: The performing body during and after the Cold War, by Adam Broinowski, Frances Barbe
Embodying imagination: Butoh and performer training, Frances Barbe
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
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
Ever-widening circles: Consolidating and enhancing Wirlomin Noongar archival material in the community, Clint Bracknell and Kim Scott
Introduction and Interview: A multi-arts project, Jon Burtt, Katie Lavers, and Iqbal Barkat
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
Participant spectator meeting places, Lucinda Coleman
Can coaches predict long-term career attainment outcomes in adolescent athletes?, Ashley J. Cripps, Luke S. Hopper, and Christopher Joyce
The Performer-Composer: A reimagined career pathway for the modern-day saxophonist, Jazmin Ealden
Friday essay: shaved, shaped and slit - eyebrows through the ages, Lydia Edwards
Choreography as landscape: Landscape discourse framing choreographic practice, Emma Fishwick
Facial re-enactment, speech synthesis and the rise of the Deepfake, Nicholas Gardiner
Re-Composing Feminism: Australian women composers in the new millennium, Talisha Goh
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
An international perspective on managing a career as a woman composer, Sophie Hennekam, Dawn Bennett, Sally Macarthur, Cat Hope, and Talisha Goh
Professional development: Life or death after pre-service training?, Christine Higginbotham
Hollywood may be able to afford #MeToo, but it’s a stretch for the Australian arts, Luke Hopper and Mark Cariston Seton
Polite patriotism: The Edwardian gentleman in English music, 1904 to 1914, Paul Hopwood
Mozart sonatas K. 570, 282, 333, Geoffrey Lancaster
Through the lens of esoteric thought: Joseph Haydn's The Seven Last Words of Christ on the Cross, Geoffrey Lancaster
The temptations of anthropocentra: Bardo in Macau, Katie Lavers and Jon Burtt
Contemporary circus, Katie Lavers, Louis Patrick Leroux, and John Burtt
Empowering the next generation of actors through the creation of student-centred self-devised dramatic work, Andrew Lewis and Lyndall Adams
Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis, Glyn Alan MacDonald
Seasons of life, Glyn MacDonald, Western Australian Wind Symphony, Matt Styles, and Sam Perry
The Voices Project: Antonin Artaud (1896 - 1948), Serge Gainsbourg (Lucien Ginsburg, 1928 - 1991), Denis Levant (1961), MC Solaar (Claude M'barali, 1969), Jonathan Marshall
Insight into sunset, Jonathan W. Marshall
Launch of the Online Refereed Journal Sound Scripts, vol. 6, iss 1 (2019), Jonathan W. Marshall
Female to male gender transition in Perth and WA: an exploration through documentary film production, Jonathan W.A. Messer
Sisters Akousmatica’s ‘expanded radio’ practice as radical feminist broadcast, Annika Moses and Lindsay Vickery
Evidencing slow making in one-to-one performance at Proximity Festival, Renée Newman
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
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
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
Limited hangout: In the field: Season 1, Sage Pbbbt, Lindsay Vickery, Olivia Davies, Josten Myburgh, Pippin Kenworthy, and Mace Francis
The State of Dancingness: Staying with leaving, Jo Pollitt
Writing as dancing: The dancer in your hands , a novella <>, Joanna Tollemache Pollitt
United as one, Reach For the Lazers (R4TL), Nick Hatcher, Stu Chapman, Victoria Newton, and Paul Larner
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
Monologuing the music: A new actor training practice for new times, Nicole Stinton
The situated performative: Considering the politics of the pause in performance, Alexa Taylor
The grain of the digital audio workstation, Michael Terren