Submissions from 2018
Reliability of the evaluation of humanoid animation as a visualizing tool in hip-hop dance, Nahoko Sato and Luke S. Hopper
Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition, Tsu Tham Tommy Seah
Creative awareness at LINK dance company 2017, Lauren Ebony Sherlock
Beethoven triple concerto, Anna Sleptsova, Louise McKay, Rebecca Glorie, and Mark Coughlan
Frédéric Chopin: Poet of the piano, Anna Sleptsova, Louise McKay, Izaac Masters, Jordan Proctor, Chern Xi Khor, Mae Anthony, Nicholas Williams, Julian Wheeler, Emma Davis, Mitchell Price-Norgaard, Xiaosong Liu, and Ryan Davies
Vital performance: Culture, worldview, and romanticist performance practice with application in Franz Liszt’s Consolations and Années de Pèlerinage Première Année, Andrew John Snedden
Tenacity: Solo recital, Matt Styles
Spark, Daniel Susnjar
What is possible or impossible to perform, Alexa Taylor
Rocky Horror allegations throw a spotlight on acting boundaries, on and off stage, Leith Taylor
Siliceous: speculative mimesis and the grain of the digital audio workstation, Michael Terren
Resounding landscapes–combining psychogeography and elements of the landscape as composition, Cissi Tsang
A Survey to Investigate the Participation of Female Jazz-Trained Instrumentalists at WAAPA and in Perth’s Professional Music Scene, Talya Valenti
kurui [2018] for bass clarinet, piano/melodica and percussion, Lindsay Vickery
Sanctuary [2018] for percussion quartet, Lindsay Vickery
Some approaches to representing sound with colour and shape, Lindsay Vickery
takadanobaba [2018] for voice, violin, trumpet, alto saxophone, bass clarinet, electric guitar, prepared piano and percussion, Lindsay Vickery
thalweg [2018] for electric guitar and electronics, Lindsay Vickery
un paso al abismo [2018] for live soap opera feeds and performers, Lindsay Vickery
Willson's Downfall [2018] for three performers and field recordings, Lindsay Vickery
Lines of flight, Lindsay Vickery, Catherine Ashley, Jameson Feakes, and Kirsten Smith
Nature forms I, Lindsay Vickery, Catherine Ashley, Jameson Feakes, and Kirsten Smith
GreyWing - Artificial field (live recording), Lindsay Vickery, Matthew Burtner, Michael Terren, Vanessa Tomlinson, Ryan Burge, and Robert Erikson
greywing - ex machina (live recording), Lindsay Vickery, Robert Erickson, Joanna Bailie, James Saunders, Camilla Hannan, Dane Yates, and Peter Ablinger
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
Taiko drumming, Tim White and Defying Gravity
Thunderstruck, Tim White, Defying Gravity, Rosie Taylor, Elise Reitze, and Pavan Kumar Hari
Cirque du rhythm, Tim White, Marcus Perrozzi, and Defying Gravity
Performance practice in Liszt’s Hungarian Rhapsodies: A comparison of the Liszt-Pupil recordings of Hungarian Rhapsody No.12, Nicholas Williams
The special team elite, Soseh Yekanians
Submissions from 2017
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
Re-imagining the development of circus artists for the twenty-first century, Jon Burtt and Katie Lavers
Lower leg and foot contributions to turnout in university-level female ballet dancers: A preliminary investigation, Sarah Carter, Alan R. Bryant, and Luke Hopper
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
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
Investigating register preferences in the female singer of contemporary commercial music, Tracey Cooke
Biological maturity and the anthropometric, physical and technical assessment of talent identified U16 Australian footballers, Ashley Cripps, Christopher Joyce, Carl Woods, and Luke Hopper
Learning French in Western Australia: A hedonistic journey, Celine Doucet and Sabine Kuuse
Dialogue not Diatribe: Methods for a practice of socio-humanitarian playwriting, Siobhan Dow-Hall
From Elizabeth I to high fashion, the tales behind Game of Thrones’ costumes, Lydia Edwards
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
Stage managing Bali Agung: The possibility of hybridity in an intercultural production, Susan Fenty Studham
Breaking curtain: Editorial, Susan Fenty Studham, Renee Newman, and Helen K. Rusak
An introduction to voice in screenwriting, Rose Ferrell
Space-time continuums: Structure as an Eternal Dance, Rose Ferrell
Voice and national identity in Big Hero 6, Rose Ferrell
Voice in Screenwriting: Discovering/Recovering an Australian Voice, Rosemary Kaye Ferrell
Bridging the Great Divide: An Exploration of Postmodernism in the Guitar Music of Nigel Westlake, Melissa Claire Fitzgerald
The viola works of Benjamin Dale: A contextual study two Lecture-Recitals -and- An exegesis, Alix Hamilton
The decibel new music ensemble: Artistic research in experimental music at the academy, Cat Hope
Speechless, Cat Hope and Stuart James
Documenting music performance in the Western Australian new music archive, Cat Hope, Adam Trainer, and Lelia Green
Documenting music performance in the Western Australian New Music Archive, Cat Hope, Adam Trainer, and Lelia Green
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
Noise in the clouds, Stuart James, Kouhei Harada, and Decibel
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
Culliford, Rolfe and Barrow: A tale of nine pianos, Geoffrey Lancaster
Blakflip and beyond: Aboriginal performers and contemporary circus in Australia, Katie Lavers and Jon Burtt
Briefs and Hot Brown Honey: Alternative bodies in contemporary circus, Katie Lavers and Jon Burtt
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
Absence, presence, indexicality: The Mise en Scène of 'the heart of neolithic Orkney', Jonathan Marshall
A dramaturgy of montage and dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel, Jonathan W. Marshall
Trophies remain: The history of New Zealand resource extraction and the meat fence photo-project, Jonathan W. Marshall
Directing through Dialogue: A theatre director’s exploration of leadership, Gabrielle Frances Metcalf
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
Harry Mitchell, Harry Mitchell, Jamie Oehlers, Daniel Susnjar, Jeremy Thompson, and Karl Florisson
Decibel - Electronic concertos, act 1, Johannes Mulder, Meg Travers, Catherine Ashley, Mark Oliveiro, and Decibel
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
"You are no longer creative when you give up": Technical theatre’s creative sleight of hand, Maggie Phillips and Renee Newman
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
The application of Konokol to guitar improvisation and composition, Glenn Andrew Rogers
Measuring the value of cultural activity in regional Western Australia: Evaluation report, Helen Rusak and Susan Studham
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
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
One (alto saxophone & backing track), Matt Styles