Submissions from 2015
The Decibel ScorePlayer - A Digital Tool For Reading Graphic Notation, Cat Hope and Lindsay R. Vickery Dr
Magdalena Talks Back: contemporary feminist research methodologies, Lekkie Hopkins and Julie Robson
Dance floor force reduction influences ankle loads in dancers during drop landings, Luke Hopper, Jacqueline Alderson, Bruce Elliott, and Timothy Ackland
Spectromorphology and spatiomorphology of sound shapes: Audio-rate AEP and DBAP panning of spectra, Stuart James
Enter the movement: Generating stimulus from sceneography and proposing 'De-sign' as a tool for choreographic invention, Helene Gee Markstein
Jim Allen: The skin of years [Book review], Jonathan W. Marshall
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
A contextual study of Boris Asafiev's Musical form as a process and and application of concepts to his Sonata for solo viola, Kathryn Fiona McKay
Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis, Jonathan R. Paget, Victoria Rogers, Nicholas Bannan, Paul HopWood, Krista Low, Adrian Yeo, Alix Hamilton, Lindsay Vickery, Stuart James, Carol Williams, Stewart Smith, Robin Ryan, Emma Jayakumar, Cat Hope, and Lucas O'Brien
No tree-no leaf: Applying resilience theory to eucalypt-derived musical traditions, Robin Ryan
Didjeri-dus' and 'Didjeri-don'ts': Confronting sustainability issues, Robin Ann Ryan
Mothers, daughters and family in Goliarda Sapienza’s L’arte della gioia, Susanna Scarparo and Aureliana Di Rollo
Stage management: A question of approach in intercultural theatre, Susan Fenty Studham
Map-making towards an onto-cartography of the digital audio workstation, Michael Terren and Cat Hope
The Perth artifactory: studio report, Meg Travers
Who wants a trautonium must build one, Meg Travers and Cat Hope
An approach to the generation of real-time notation via audio analysis: The semantics of redaction, Lindsay Vickery
Through the eye of the needle: compositional applications for visual/sonic interplay, Lindsay Vickery
Music Screen-Reading: indicative results from two pilot studies, Lindsay R. Vickery Dr and Talisha Goh
The Missing Link: Filling the gap and achieving success in Australian contrabass auditions, Giovanni Vinci
Eccentric loading increases peak torque angle of the ankle plantar flexors in healthy volunteers, Matthew Wellisch, Peter Hamer, Luke Hopper, Max Bulsara, and James Debenham
Creatively Pursuing Persona: Finding identity through directing, Soseh Yekanians
The reinvention of tradition—in contemporary Chinese classical dance creations (1980–2010), Min Zhu
Submissions from 2014
Capturing creative practice, Lyndall Adams, Christopher Kueh, Renee Newman-Storen, and Neil Ferguson
Messy never-endings: Curating inConversation as interdisciplinary collaborative dialogue, Lyndall Adams, Renee Newman-Storen, Neil Ferguson, and Christopher Kueh
Conversations on the frontlines of the body, Lucinda Coleman
The poetics of gravity: Performance experiments from the natural environment to the stage, Russya Connor
Explorations in double-stops: Three new pieces for expanding the role of the double bass in the jazz ensemble, Ashley de Neef
Cashflow and dreams ~ An exploration of screenwriter's voice, Rose Ferrell
Australia’s microtonal modernist: The life and works of Elsie Hamilton (1880-1965), Talisha Goh
Western Australian New Music Archive (WANMA), Cat Hope
Do dance floor force reduction and static stiffness represent dynamic floor stiffness during dance landings?, Luke S. Hopper, Jacqueline A. Alderson, Bruce C. Elliott, Timothy R. Ackland, and Paul R. Fleming
Dance floor mechanical properties and dancer injuries in a touring professional ballet company, Luke S. Hopper, Nick Allen, Matthew Wyon, Jacqueline A. Alderson, Bruce C. Elliott, and Timothy R. Ackland
Dancer Perceptions Of The Force Reduction Of Dance Floors Used By A Professional Touring Ballet Company, Luke Hopper, Talia Wheeler, James Webster, Nick Allen, Jonathan Roberts, and Paul Fleming
The neglect of Holbrooke's chamber music and the specter of mass culture, Paul A. Hopwood
Noting the self: From embodying Buddhist vipassaná meditation to meditation-based performance, Tanatchaporn Kittikong
Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies, Katrina Lavers
Rasalila meets Giselle: A journey from sensuality to spirituality, Sonia Nair
Leadership in sustainability: Creating an interface between creativity and leadership theory in dealing with "wicked problems", Renee Newman-Storen
Choreographies of Thought: Dancing Time back into Writing, Margaret J. Phillips
Mr Barbecue By Elena Kats-Chernin: The Raw And The Cooked, Helen K. Rusak
The Charisma of Tango in Australia, Helen K. Rusak
Toward A New, Musical Paradigm of Place: The Port River Symphonic Of Chester Schultz, Robin Ryan
Two Decades in the Contact Zone: A Critical Assessment of Process and Productivity in Koori Music Research, Robin Ryan and Herb Patten
Sound shapes and spatial texture: Frequency-space morphology, James Stuart
Exploring the mediality of live and studio composition: The case of computer music, and its implications in “Ambivalence of Density”, Michael Terren
Eighteenth century techniques of classical improvisation on the violin: Pedagogy, practice and decline, Flavia Claudia Todea
W(h)ither Trautonium?, Meghan M. Travers and Catherine A. Hope
Converging paths: Classical articulation study and the jazz saxophonist, Jeremy Trezona and Matthew Styles
Exploring a visual/sonic representational continuum, Lindsay Vickery
Notational semantics in music visualisation and notation, Lindsay R. Vickery
The limitations of representing sound and notation on screen, Lindsay R. Vickery
Submissions from 2013
Tessitura changes in music theatre repertoire for the soprano voice, Linda J. Barcan
The making of Disgrace Kelly: Dragging the diva through cabarets, pubs and Into the recital hall, Caitlin Cassidy
Investigating the ranges of the female voice, Tracey Cooke
The history of the voice and how it has informed performing conventions of today, Tracey Cooke
Ronald Stevenson, composer-pianist : an exegetical critique from a pianistic perspective, Mark Gasser
How might specially-designed contemporary dance teaching positively affect adolescent health and well-being?, Katharina F. Geertsen
Reflections on the construction of meaning through immanent visual association, Samuel P. Gillies and Lindsay R. Vickery
Mobilising John Cage: The Design and Creation of Score Generators for the Complete John Cage Variations I–VIII, Cat Hope, Lindsay R. Vickery Dr, Aaron Wyatt, and James Stuart
2D AND 3D Timbral Spatialisation: Spatial Motion, Immersiveness, and Notions of Space, Stuart James and Catherine Hope
Retaining a sense of spontaneity in Free Jazz improvisation through music technology, Suzanne Kosowitz and Lindsay R. Vickery
An investigation of the benefits of improvisation for classical musicians, Rebecca S. Kossen
Ben Wendel : the manipulation of sound and 'shapes' in the construction of an improvised solo, Luke Christopher Minness
The Performance of Biopower and Liveliness: The Life and Death of Terri Schiavo, Renee E. Newman-Storen
Conversations over the Gap, Renee E. Newman-Storen and Ryan Reynolds
Musical exchange and soft power: The potential benefits and risks, Jonathan Paget
Has Sculthorpe misappropriated indigenous melodies?, Jonathan R. Paget
Keys from the past: Unlocking the power of eighteenth-century contrapuntal pedagogies, Jonathan R. Paget and Stewart J. Smith
A transcultural journey : integrating elements of Persian classical music with jazz, Kate Pass
Diminutive Catastrophe: Clown's Play, Margaret J. Phillips
Skipping against hegemony: Where are states of lightness in contemporary dance-making?, Margaret J. Phillips
My worst ever night at the best school ball ever : creating taboo theatre for teenagers, Jeremy F. Rice
Uncovering a genre : the integration of suspended aerial apparatus and contemporary dance practice in Australia, Catherine Ryan
“Not Really a Musical Instrument?” Locating the Gumleaf as Acoustic Actant and Environmental Icon, Robin Ryan
Alternative Approaches to Stage Management in Bali, Susan R. Studham
Electronic music is here to stay - or is it?, Meg Travers and Cat Hope
Utilizing classical saxophone articulation techniques in jazz performance, Jeremy Trezona
Developing audiation through internalisation : using the pivots system as an example, Steven Vacca
Joe Henderson's harmonic approach to improvisation within the duo setting in his 1992 quintet album, Lush Life: the music of Billy Strayhorn, Patrick van der Moezel
Creating and Performing New Australian Works on the Hungarian Concert Cimbalom, Joshua Webster
Animated Music Notation on the iPad (Or: Music stands just weren't designed to support laptops), Aaron K. Wyatt and Catherine Hope
Submissions from 2012
Diva Voce : reimagining the diva in contemporary feminist performance, Dawn Albinger
Bach on marimba : a case study using the violin sonata in A minor (BWV 1003), James Chong
The body of the voice in contemporary singing pedagogy, Tracey Cooke
The Wild West that W’Oz ~ Why the Western never played in Australia or Recovery of an Australian Voice, Rose Ferrell
New digital interactions with John Cage's Variations IV, V and VI, Catherine Hope, Stuart James, and Lindsay Vickery
From Autonomous to Performative Control of Timbral Spatialisation, Stuart James
Capturing dance: the art of documentation (An exploration of distilling the body in motion), Kasey J. Lack
Skipped stakes of lightness: A failure of knowledge, Margaret Phillips