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Submissions from 2016

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A digital resource for navigating extended techniques on bass clarinet, Philip Everall

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Amnesiac A stage play - and - Playwriting migration: Silence, memory and repetition. An exegesis, Lucy Eyre

Two screenplays, one writer, national voice, Rose Ferrell

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From traffic rises: Site specificity and the compositional process, Mace Francis

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Regional Western Australia and Sound Art: A survey of works by Alan Lamb and Ross Bolleter, Talisha Goh and Cat Hope

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The documentary mind: In the subject of a practitioner’s perspective on changes in documentary concept and production, Harold Robert (Bob) Hardie

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The Musicians, Harold Robert (Bob) Hardie

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Great white, Cat Hope

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Majority of one (score), Cat Hope

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Pure (score), Cat Hope

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Shadow, Cat Hope

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Tone being, Cat Hope

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Trigger warning: Sound element, Cat Hope

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Majority of one, Cat Hope and Decibel

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Headline grabs for music: The development of an iPad score generator, Cat Hope, Stuart James, and Aaron Wyatt

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The possibilities of a line: Marking the glissando in music, Cat Hope and Michael Terren

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Pure, Cat Hope and Ton Art Ensemble

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Intermodulations: A homage to Roger Smalley, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

Maybe you should stop dancing... a little, Luke Hopper and Peta Blevins

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Single-leg squats can predict leg alignment in dancers performing ballet movements in "turnout", Luke Hopper, Nahoko Sato, and Andries L. Weidemann

The dance environment, Luke Hopper and Alycia F. Yan

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A classification of multi-point spectral sound shapes, Stuart James

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A multi-point 2D interface: Audio-rate signals for controlling complex multi-parametric sound synthesis, Stuart James

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Multi-point nonlinear spatial distribution of effects across the soundfield, Stuart James

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Introducing decision training into an elite circus arts training program, P Lafortune, Jonathan Burtt, and P Aubertin

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The sound of silence: why aren’t Australia’s female composers being heard?, Sally Macarthur and Cat Hope

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I shudder to think: Performance as philosophy, Jonathan Marshall

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Laughter & pain in a post-colonial limbo: Review of Yirra Yaakin, So Long Suckers, Jonathan Marshall

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Performing neurology: The dramaturgy of Dr Jean-Martin Charcot, Jonathan Marshall

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Margaret Cameron, I shudder to think: Performance as philosophy [Book review], Jonathan W. Marshall

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The Concert Pianist Myth: Diversifying undergraduate piano education in Australia, Helen Mather

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Sleeping beauty, Renee Newman and Ian Sinclair

Goes with the territory, Jonathan Paget and Glen Phillips

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A brief exploration of variances in Larry Grenadier’s approach to soloing in piano trio and duo contexts on selected recordings of All the Things You Are and Long Ago and Far Away, Alistair Campbell Peel

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Knocking on the door: Examining the practice of classical singers at a performing arts institution, Laura Pitts

Report for WA Music: Preliminary economic impact of the music industry in WA, Rob Powell, Marie Ryan, Margaret Giles, Trudi Cooper, Cat Hope, and Claire Lambert

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Choreographing intimacy: The making of ‘[they] slipped briskly into an intimacy from which they never recovered’ – a dance film, Antonio Rinaldi

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Measuring the value of cultural activity in regional Western Australia, Helen Rusak

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Opera miniseries: Divorce: The soap opera, Helen Rusak

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Corporate entrepreneurship in the arts in Western Australia, Helen K. Rusak

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Forest as place in the album Canopy: Culturalising nature or naturalising culture?, Robin Ryan

Forging a singular musical path: The compositional explorations of Mark Cain, Robin Ryan

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Robin Ryan in conversation with Mark Cain: Kernels of discovery: Original musical instruments and acoustic sound designs, Robin Ryan and Mark Cain

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'Aborigines are true soldiers of the King': Recalling the regimental march, Gumleaf style, Robin Ryan and Herb Patten

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An analysis of selected rhythmic, harmonic and melodic devices used in the arrangement and improvisation by Gwilym Simcock on The Way You Look Tonight (2007), Brodie Stewart

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Moth to a flame, Daniel Susnjar

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Practising jazz performance: An investigation into the process that underpins optimal instrumental practice in the jazz idiom, Christopher J. Tarr

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Actor training and emotions: Finding a balance, Susan Leith Taylor

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We could play that last century: Archiving digital 20th century digital performing arts in Western Australia, Meg Travers and Cat Hope

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Hexadecimal compositions – using HEX data to sonify images of the found environment, Cissi Tsang

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There is no escape from yourself, Cissi Tsang

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The light that is waiting, Cissi Tsang, Decibel, and Nicole Canham

Visualising the sonic environment, Lindsay Vickery

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Hybrid Real/Mimetic Sound Works, Lindsay R. Vickery

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Rhizomatic approaches to screen-based music notation, Lindsay R. Vickery

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The role of ring modulation in the formal structure of Roger Smalley's monody for piano with live electronic modulation, Lindsay R. Vickery Dr

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Tectonic: a networked, generative and interactive, conducting environment for iPad, Lindsay R. Vickery Dr and Stuart James

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Between the real and the imaginary: ecostructural approaches to composing with field recordings and acoustic instruments, Lindsay R. Vickery, Michael Terren, Sam Gillies, and Josten Myburgh

The composer as bricoleur: Notions of contemporary opera in the genesis of a short film, Tsok Wee Yap

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The embodiment of psycho-physical flow in improvisation, Min Zhu

Submissions from 2015

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Speedrun, Nicholas Abbey

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Collisions, Co-opting and Collaboration: Reflections on the workings of an interdisciplinary collaborative project—inConversation, Lyndall Adams and Renee Newman

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Zeena Parkins’ contribution to experimental music and the development of the harp in the late twentieth century, Catherine Ashley

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The Adventurous Monk: A discussion of Eric Reed’s improvisational techniques and the influence of Thelonious Monk, Vaughn Beaver

An investigation into the origins of Belt and Legit [at ASME XXth National Conference], Tracey Cooke

An investigation into the origins of Belt and Legit [at Conference for Musical Theatre Educators' Alliance], Tracey Cooke

The brief outline of the history of the voice and its influences on contemporary musical theatre’s performing conventions of today, Tracey Cooke

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Inter-rater reliability and validity of the Australian football league’s kicking and handball tests, Ashley J. Cripps, Luke S. Hopper, and Christopher Joyce

Pathway efficiency and relative age in the Australian Football League talent pathway, Ashley J. Cripps, Luke S. Hopper, Christopher Joyce, and James Veale

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A stylistic analysis of Recess performed by Charlie Hunter from the DVD Right Now Live, Joshua De Silva

Intinerari didattici ad Albano Laziale in ottica di genere, Aureliana Di Rollo

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Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’, David Dower

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The shifting voice: Investigating accent and dialect training for West Australian actors, Luzita Fereday

Big Hero 6 ~ National Voice in a Transnational Context, Rose Ferrell

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Body double: The author incarnate in the cinema, Lucy Fischer (2013), Rose Ferrell

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Music in Site: Integrating elements of site-specificity into composition, Mace Francis

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The absurd reality of satire in Neil LaBute's 'Fat Pig', Hermione Gehle

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The Sonic BollART, Tim Gilchrist, Meg Travers, Tara Surry, SKoT Mcdonald, Morgan Strong, and Craig Wale

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Cries from within: The struggles and triumphs of creating a Singaporean voice in Musical Theatre, Caleb Goh

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Archiving the new, now, for future users yet unknown, Lelia Green, Cat Hope, Kylie J. Stevenson, and Tos Mahoney

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Towards an interactive environment for the performance of Dubstep music, James Herrington

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Cruel and Usual, Cat Hope

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Music of our time: let’s embrace experimental music once and for all, Cat Hope

The Decibel ScorePlayer: New developments and improved functionality, Cat Hope

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The Western Australian New Music Archive: Performing as remembering, Cat Hope, Lisa MacKinney, Lelia Green, Meghan Travers, and Tos Mahoney

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Erst, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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Existence Éphémère, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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EXIT, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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Primorph, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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Study no. 48 [catalog1], Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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[under], Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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…with the fishes…, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish

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The Decibel ScorePlayer - A Digital Tool For Reading Graphic Notation, Cat Hope and Lindsay R. Vickery Dr

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Magdalena Talks Back: contemporary feminist research methodologies, Lekkie Hopkins and Julie Robson

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Dance floor force reduction influences ankle loads in dancers during drop landings, Luke Hopper, Jacqueline Alderson, Bruce Elliott, and Timothy Ackland

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Spectromorphology and spatiomorphology of sound shapes: Audio-rate AEP and DBAP panning of spectra, Stuart James

Spectromorphology and Spatiomorphology: Wave terrain synthesis as a framework for controlling timbre spatialisation in the frequency domain, Stuart James

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Enter the movement: Generating stimulus from sceneography and proposing 'De-sign' as a tool for choreographic invention, Helene Gee Markstein

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Jim Allen: The skin of years [Book review], Jonathan W. Marshall

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Staging critical history within the space of the beat; or: What cultural historians can learn from Public Enemy, NTM, MC Solaar & George Clinton, Jonathan W. Marshall