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Submissions from 2018

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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

Starstruck with Miquel Bernat, Tim White, Miquel Bernat, and Defying Gravity

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Taiko drumming, Tim White and Defying Gravity

Thunderstruck, Tim White, Defying Gravity, Rosie Taylor, Elise Reitze, and Pavan Kumar Hari

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Cirque du rhythm, Tim White, Marcus Perrozzi, and Defying Gravity

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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

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

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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

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Biological maturity and the anthropometric, physical and technical assessment of talent identified U16 Australian footballers, Ashley Cripps, Christopher Joyce, Carl Woods, and Luke Hopper

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Learning French in Western Australia: A hedonistic journey, Celine Doucet and Sabine Kuuse

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Dialogue not Diatribe: Methods for a practice of socio-humanitarian playwriting, Siobhan Dow-Hall

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From Elizabeth I to high fashion, the tales behind Game of Thrones’ costumes, Lydia Edwards

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How accurate are the costumes in TV period dramas?, Lydia Edwards

Bedroom sound (pre-dialogue edit of Broken), Damian Fasolo

Broken, Damian Fasolo

Camera lens VFX, Damian Fasolo

Cliff premonition VFX, Damian Fasolo

Colour grade, Damian Fasolo

Deleted scenes, Damian Fasolo

Fishing scene edit, Damian Fasolo

Hospital ward sound, Damian Fasolo

Playground Sound, Damian Fasolo

Sarah bath VFX, Damian Fasolo

Sarah car - L cut and Dialogue edit, Damian Fasolo

Shower scene edit, Damian Fasolo

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Drumming Up the Future: Musical Creativity and Drum Circles as a vehicle for personal and social change, and for improved wellbeing amongst women in a pre-release facility, Nanna Faulkner

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Stage managing Bali Agung: The possibility of hybridity in an intercultural production, Susan Fenty Studham

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Breaking curtain: Editorial, Susan Fenty Studham, Renee Newman, and Helen K. Rusak

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An introduction to voice in screenwriting, Rose Ferrell

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Space-time continuums: Structure as an Eternal Dance, Rose Ferrell

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Voice and national identity in Big Hero 6, Rose Ferrell

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Voice in Screenwriting: Discovering/Recovering an Australian Voice, Rosemary Kaye Ferrell

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Bridging the Great Divide: An Exploration of Postmodernism in the Guitar Music of Nigel Westlake, Melissa Claire Fitzgerald

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The viola works of Benjamin Dale: A contextual study two Lecture-Recitals -and- An exegesis, Alix Hamilton

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The decibel new music ensemble: Artistic research in experimental music at the academy, Cat Hope

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Speechless, Cat Hope and Stuart James

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Documenting music performance in the Western Australian New Music Archive, Cat Hope, Adam Trainer, and Lelia Green

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Documenting Music Performance in the Western Australian New Music Archive, Cat Hope, Adam Trainer, and Lelia Green

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Torso and bowing arm three-dimensional joint kinematics of elite cellists: Clinical and pedagogical implications for practice, Luke S. Hopper, Cliffton Chan, Suzanne Wijsman, Timothy R. Ackland, Peter Visentin, and Jacqueline A. Alderson

A novel approach to timbre morphology: Audio-rate control of additive synthesis, Stuart James

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Noise in the clouds, Stuart James, Kouhei Harada, and Decibel

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Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore, Stuart James, Cat Hope, Lindsay R. Vickery Dr, Aaron Wyatt, Ben Carey, Xiao Fu, and Georg Hajdu

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Culliford, Rolfe and Barrow: A tale of nine pianos, Geoffrey Lancaster

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Blakflip and beyond: Aboriginal performers and contemporary circus in Australia, Katie Lavers and Jon Burtt

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Briefs and Hot Brown Honey: Alternative bodies in contemporary circus, Katie Lavers and Jon Burtt

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The rise and fall, and the rise (again) of feminist research in music: 'What goes around comes around', Sally Macarthur, Dawn Bennett, Talisha Goh, Sophie A. Hennekam, and Cat Hope

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Absence, Presence, Indexicality: The Mise en Scène of 'the Heart of Neolithic Orkney', Jonathan Marshall

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A dramaturgy of montage and dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel, Jonathan W. Marshall

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Trophies Remain: The history of New Zealand resource extraction and the Meat Fence photo-project, Jonathan W. Marshall

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Directing through Dialogue: A theatre director’s exploration of leadership, Gabrielle Frances Metcalf

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Identifying lower limb specific and generalised joint hypermobility in adults: validation of the Lower Limb Assessment Score, Kaitlyn J. Meyer, Cliffton Chan, Luke Hopper, and Leslie L. Nicholson

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Decibel - Electronic concertos, act 1, Johannes Mulder, Meg Travers, Catherine Ashley, Mark Oliveiro, and Decibel

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Innocent dreamer, Jamie Oehlers and Tal Cohen

Passage, Tom O'Halloran

The Silver Sands Guitar Trio [Concert], Jonathan Paget, Nathan Fischer, and Craig Lake

Guitar Brazilliance, Jonathan Paget, Nathan Fischer, Craig Lake, and Plectra Guitar Ensemble

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Changing lives through music: Professional audition practice and a community focus; an explorative study into the musical development of the Western Australian Charity Orchestra, Samuel Parry

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"You are no longer creative when you give up": Technical theatre’s creative sleight of hand, Maggie Phillips and Renee Newman

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She writes like she dances: Response and radical impermanence in writing as dancing, Jo Pollitt

From opera with love, Patricia Price, Anna Sleptsova, David Wickham, Fiona McAndrew, Katherine Goyder, Caitlin Cassidy, Alexander Lewis, Michael Lewis, WAAPA Opera Chorus, and Kristin Bowtell

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The application of Konokol to guitar improvisation and composition, Glenn Andrew Rogers

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Measuring the value of cultural activity in regional Western Australia: Evaluation report, Helen Rusak and Susan Studham

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Edges of resting and going: The possibilities and limitations of recovering from chronic fatigue syndrome in a dance-training environment, Daisy Sanders

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Ankle taping can reduce external ankle joint moments during drop landings on a tilted surface, Nahoko Sato, Hiroyuki Nunome, Luke S. Hopper, and Yasuo Ikegami

Le grand duo, Ashley William Smith and Anna Sleptsova

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Targeting associated mechanisms of anterior cruciate ligament injury in female community-level athletes, Jonathan M. D. Staynor, Joanna C. Nicholas, Gillian Weir, Jacqueline A. Alderson, and Cyril J. Donnelly

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One (alto saxophone & backing track), Matt Styles

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One (tenor saxophone & backing track), Matt Styles

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Home by eleven, Matt Styles, Paul Tanner, and Adam Pinto

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Out of character: how acting puts a mental strain on performers, Leith Taylor

Boxy music: Sounding out the conceptual space of in-the-box music practice, Michael Terren

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Decibel - Electronic concertos, act 2, Chris Tonkin, Pedro Alvarez, Daniel Thorpe, Stuart James, and Decibel

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Finding meaning in data: Using data elements to sonify and visualize the found environment, Cissi Tsang

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Destiny: The extraordinary career of pianist Eileen Joyce, David Tunley, Victoria Rogers, and Cyrus Meher-Homji

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My name is Nobody, Ben Vanderwal, Tom O'Halloran, and Lucky Oceans

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Expanded percussion notation in recent works by Cat Hope, Stuart James and Lindsay Vickery, Lindsay R. Vickery, Louise Devenish, Stuart James, and Cat Hope

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Ghosts, fools and seers, Katja Webb, David Wickham, Aaron Wyatt, and Michael Waye

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Dark lotus by Pavan Hari, Tim White and Defying Gravity