Submissions from 2024
Steve Grossman, the catalyst: A practice-led research investigation into developing a chromatic approach to improvisation, Joshua Parker
Technique reframed body reimagined, Susan D. Peacock
Boatbird, Jo Pollitt and Lilly Blue
Forecast, Jo Pollitt, Lilly Blue, Dianne Jones, and Eva Fernandez
Postgraduate research in music: A step-by-step guide to writing a thesis, Victoria Rogers
Music as a determinant of health among First Nations people in Australia: A scoping narrative review, Brigitta Scarfe, Kristy Apps, Naomi Sunderland, Phil Graham, Brydie Leigh Bartleet, Glenn Barry, Darren Garvey, Rae Cooper, and Clint Bracknell
Music across generations: Exploring intergenerational First Nations musical practices as cultural determinants of health, Naomi Sunderland, Glenn Barry, Phil Graham, Darren Garvey, Brydie Leigh Bartleet, Brigitta Scarfe, Kristy Apps, Rae Cooper, Clint Bracknell, and Kerry Hall
Representing the climate crisis: Aesthetic framings in contemporary performing and visual arts, Susanne Thurow, Helena Grehan, and Maurice Pagnucco
Exhibition floor talk | Soiled, Cassandra Tytler and Lyndall Adams
Drumming Together: East Meets West Australia-China music collaborations in Nanjing and Guangzhou, Tim White
Let There Be Light: Illuminating performances of Erik Griswold’s ‘Strings Attached’, Tim White
Submissions from 2023
Vocal Arranging for 5 part Acapella Pop Voices, Matthew Allen
Timing is everything, but does it really matter? Impact of 8-weeks morning versus evening iron supplementation in ballet and contemporary dancers, Caitlin Attwell, Alannah McKay, Marc Sim, Cory Dugan, Joanna Nicholas, Luke Hopper, and Peter Peeling
An investigation into theories of odd meter and their application to jazz composition and improvisation, Kristian Borring
The nexus between warm up preparation and optimal performance, Elizabeth Chapman
The brink: Receptive generosity and kindness in the development of a choreographic pedagogy of consent for actor training, Samantha Chester and Renee Newman
Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training, Antje Diedrich and Frances Barbe
The space between writing and dancing: Dancingwords/wordsthatdance, Lara Dorling
Why is Austin Butler still speaking in his Elvis voice? It could be a case of ‘role spill’, Luzita Fereday
Playing music: Reconsidering game pieces through tabletop roleplaying game design, Izabelle French
Paramedic training, experience, and confidence with out-of-hospital childbirth (OOHB) in Australia, Michella G. Hill, Belinda Flanagan, Brennen Mills, Sara Hansen, and Luke Hopper
Video Example 10. 'Filling in the gaps' of arpeggios, Judith A. Iddison
Video Example 11. Improvising using the augmented second interval, Judith A. Iddison
Video Example 12. Soloing on one, two and three strings, Judith A. Iddison
Video Example 13. Improvising incorporating bigger intervals, Judith A. Iddison
Video Example 14. Improvising with a D7 chord, Judith A. Iddison
Video Example 15. Shifting fifths patterns, Judith A. Iddison
Video Example 16. 'Outside' playing with pentatonic, Judith A. Iddison
Video Example 17 Gregorio demonstrates rhythmic juxtaposition, Judith A. Iddison
Video Example 18. Stylistic juxtaposition, Judith A. Iddison
Video Example 1. The tabla and oud, Judith A. Iddison
Video Example 20. Evoking flamenco vocal style, Judith A. Iddison
Video Example 21. More elaborate ornamentation and hemiolas, Judith A. Iddison
Video Example 22. Jazz influences, Judith A. Iddison
Video Example 23. Bow percussion, Judith A. Iddison
Video Example 24. Sequence to the stratosphere as part of Gregorio's cadenza(1), Judith A. Iddison
Video Example 26. Gregorio comping, Judith A. Iddison
Video Example 27. Blues-based ideas and motivic development in Swing 48, Judith A. Iddison
Video Example 28. Improvisational fluency, surround technique, blues-based ideas, Judith A. Iddison
Video example 29. Tension and release, 'horn-like' bent notes and Grappelliesque triplets, Judith A. Iddison
Video Example 2. A 'great breath-like instrument', Judith A. Iddison
Video Example 30. Bariolage and melodic devepment with extreme pitch, Judith A. Iddison
Video Example 32. Opening phrase of Bollyrock, Judith A. Iddison
Video Example 33. More elaborate ornamentation, Judith A. Iddison
Video Example 34. Ornamental flourishes(2), Judith A. Iddison
Video Example 35. Venturing 'outside' with arpeggiation, Judith A. Iddison
Video Example 36. Birdcalls, Judith A. Iddison
Video Example 38. Blues-based ideas with 'guitar' bends and wide vibrato, Judith A. Iddison
Video Example 39. 'Horn-like', funk-based rhythms and blues-based ideas, Judith A. Iddison
Video Example 3. A percussive chordal instrument and the African kora, Judith A. Iddison
Video Example 40. Slides, wide vibrato and funk-based rhythms, Judith A. Iddison
Video Example 42. Hints of melody amongst ornamental flourishes, Judith A. Iddison
Video Example 43. Incorporating the augmented second and wide vibrato, Judith A. Iddison
Video Example 44. Virtuosic flourish, Judith A. Iddison
Video Example 45. Strong rhythms with extended harmonies, Judith A. Iddison
Video Example 46. Incorporation of jazz language, Judith A. Iddison
Video Example 47. Driving swing rhythm and half whole pattern, Judith A. Iddison
Video Example 48. Driving syncopation, 'outside' harmonic tension and whole half, Judith A. Iddison
Video Example 4. The African Kora, Judith A. Iddison
Video Example 5. Octave viola, Judith A. Iddison
Video Example 6. The phraseology of a saxophone, Judith A. Iddison
Video Example 7. The nuances of a trumpet, Judith A. Iddison
Video Example 8. Vibrato used to imitate a trumpet lip trill, Judith A. Iddison
Video Example 9. Bow percussion, Judith A. Iddison
Alluvial Gold, Stuart James, Louise Devenish, and E. Coates
"I don't want to dance anymore" - rediscovering the joy of dance beyond chronic pain, Amelie K. Ladyman
Chopin’s polonaise in ab major, op.53: Constructing an informed interpretation, Arielle X. Lu
Tony Yap and Diasporic Post-Butoh in Australia, Jonathan W. Marshall
Performance and interpretation: Beethoven's Opus 110, Izaac J. Masters
I am _your_ pyrate dancer: Choreographic computabilities dancing inside the interstices of a visceral world, Nancy Mauro-Flude and Jo Pollitt
Migraine Therapy, Peter Mcavan
I think things are precious, Vahri McKenzie
Careful and curious: A transformative ethos for artistic evaluation, Vahri McKenzie, Denise Thwaites, and Cathy Hope
Re-enactment as conversation: Yoshiko Shimada’s becoming a statue of a Japanese comfort woman, Vahri Mckenzie and Jen Webb
Director training: A mine field or brave new world?, Gabrielle Metcalf and Andrew Lewis
Flow-state in Noongar performance, Kyle J. Morrison
Catastrophes, Renee Newman and Ella Hetherington
Investigating pre-professional dancer health status and preventative health knowledge, Joanna Nicholas and Sara Grafenauer
Sideffect GamePlan: Development of an alcohol and other drug serious game for high school students using a systematic and iterative user-centred game development framework, Joanna Nicholas, Brennen Mills, Sara Hansen, Stephen J. Bright, Joseph Scott, Imogen Ridout, Jess Watson, Heather Boyd, Luke Brook, and Luke Hopper
Psychological flow training: Feasibility and preliminary efficacy of an educational intervention on flow, Cameron Norsworthy, James A. Dimmock, Joanna Nicholas, Amanda Krause, and Ben Jackson
The mask & me: Exploring the correlations between autistic masking and performance, Mariah A. O'Dea
Non-conventional approaches in improvisation: Monophonic accompaniment and negotiable harmony, Jamie Oehlers
Leadership in interdisciplinary collaboration: Holding space for psychological safety and peak performance, Xin H. Ong
La guitaromanie (1829) by Charles De Marescot (1790–1842): Unpacking the imagery and music of an iconic nineteenth-century guitar book, Jonathan Paget
East meets West: Cross-cultural imaginings, Jonathan Paget, Nick Abbey, Jamie Oehlers, Stewart Smith, S. Ding, L. Filipe, S. Li, T. Ye, and T. Yang
Nanjing Epiphanies, Jonathan R. Paget, Nick Abbey, Jamie Oehlers, Tim White, W. Ding, C. Huang, Geoffrey Lancaster, S. Ling, K. Ling, T. Tang, Y. Wang, and D. Ye
Silver Sands Guitar Quartet Debut: The World in a Single Grain, Jonathan Paget, Ingrid Riollot, Craig Lake, and Ethan Dorrian
All ways fire she gives, Jo Pollitt
One mob dreaming: Cultivating a working model for song-sharing between Koori and non-Koori children in the Bega Valley, New South Wales, Robin Ryan Cruse and Uncle Ossie Cruse
Stick strokes and swing ratios of Billy Higgins, Benjamin Shelley
Exploring a feminist reclamation of Medea through percussion theatre, Mercedes A. Slack-Smith
From Source to Performance: Seicento Italy, Stewart Smith
Interpreting Ligeti's Volumina, Stewart Smith and Cat Hope
Celtic Baroque, Stewart J. Smith
The cartographies of place: Approaches to audio-visual composition incorporating aspects of place, Wing S. Tsang
Square piano by Arnold Frederick Beck (London, 1780): Restorative conservation, what may be inferred, and a resultant teaching program, Paul L. Tunzi