Submissions from 2019
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
Representations of decay in the works of Cat Hope, Stuart James and Lindsay Vickery
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
Composing soundscapes from a single field recording, Cissi Tsang
Never Far Away [Music CD], Teresa Vinci
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
The canvas mode: Rapid prototyping for the Decibel ScorePlayer, Aaron Wyatt, Lindsay Vickery, and Stuart James
Unlocking the Decibel ScorePlayer, Aaron Wyatt, Lindsay Vickery, and Stuart James
Contemporary Chinese dance: the interweaving of tradition and modernity, Min Zhu
Submissions from 2018
WAAPA Gospel Choir arrangements for Faith & Freedom: The music of George Michael with the Perth Symphony Orchestra, Matthew Allan, Western Australian Academy of Performing Arts Gospel Choir, and Perth Symphony Orchestra
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
Cultural responses to occupation in Japan: The performing body during and after the Cold War, by Adam Broinowski, Frances Barbe
Spectator as traveller and performer as guide: A conversation on the pedagogy of site-specific, participatory and immersive performance, Frances Barbe and Renee Newman
Creating a career as a woman composer: Implications for music in higher education, Dawn Bennett, Sally Macarthur, Cat Hope, Talisha Goh, and Sophie Hennekam
Cognitive imagery training in a dancer’s deliberate practice: Skills development, confidence and creativity, Sasha Brampton
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
Lower leg and foot contributions to turnout in pre-professional female dancers: A clinical and kinematic analysis, Sarah Louise Carter
Kinematic repeatability of a multi-segment foot model for dance, Sarah Carter, Nahoko Sato, and Luke Hopper
The prevalence of generalized and syndromic hypermobility in elite Australian dancers, Cliffton Chan, Luke Hopper, Feili Zhang, Verity Pacey, and Leslie L. Nicholson
Remnants of us: Collective dance-making as multi-art form praxis, Lucinda Coleman
The Fifth Sparrow: In Memory of Mollie Skinner, Susannah Conte
Neoteric Drum Set Orchestration: An analysis of Nate Wood’s drumming on the music of Tigran Hamasyan, Ryan George Daunt
The interaction between postminimalist music and contemporary dance, Azariah Felton
Field notes for an Australian production of The Beautiful Game: A case study in coaching challenges, Luzita Fereday
Layered analytical graphs: analysing and composing using the harmonic techniques of Wayne Shorter and Chick Corea, Samuel Hadlow
Integrating biomechanical and animation motion capture methods in the production of participant specific, scaled avatars, Luke Hopper and Nahoko Sato
The inherent movement variability underlying classical ballet technique and the expertise of a dancer, Luke S. Hopper, Andries L. Weidemann, and Janet Karin
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
The multiple narratives of Cirque Du Soleil, Katie Lavers and L.P. Leroux
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
Lara Stevens, Anti-war theatre after Brecht: Digital aesthetics in the 21st Century [Book review], Jonathan W. Marshall
The nervous stage: nineteenth-century neuroscience and the birth of modern Theatre by Matthew Wilson Smith (review), Jonathan W. Marshall
Welcoming the challenge of the new, Jonathan W. Marshall Dr.
Landscapes as graveyards: Spectral return and performativity in the contested landscape, Jonathan W. Marshall and Emily Duncan
Toad media, Jonathan W. Marshall and Cat Hope
The space between, Emma Matthews, Jamie Oehlers, Paul Grabowsky, and Steve Vizard
Analysing intonation of the Pied Butcherbird, Jean-Michel Maujean
I am here now: A play – and – Polyvocality, the unhomely, and the methods of Mike Leigh in playwriting: An exegesis, Michael McCall
Don't stop here, Harry Mitchell, Jamie Oehlers, Karl Florisson, Jeremy Thomson, and Daniel Susnjar