Submissions from 2016
Tectonic: a networked, generative and interactive, conducting environment for iPad, Lindsay R. Vickery Dr and Stuart James
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
The embodiment of psycho-physical flow in improvisation, Min Zhu
Submissions from 2015
Speedrun, Nicholas Abbey
Collisions, Co-opting and Collaboration: Reflections on the workings of an interdisciplinary collaborative project—inConversation, Lyndall Adams and Renee Newman
Zeena Parkins’ contribution to experimental music and the development of the harp in the late twentieth century, Catherine Ashley
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
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
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
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
Body double: The author incarnate in the cinema, Lucy Fischer (2013), Rose Ferrell
Music in Site: Integrating elements of site-specificity into composition, Mace Francis
The absurd reality of satire in Neil LaBute's 'Fat Pig', Hermione Gehle
The Sonic BollART, Tim Gilchrist, Meg Travers, Tara Surry, SKoT Mcdonald, Morgan Strong, and Craig Wale
Cries from within: The struggles and triumphs of creating a Singaporean voice in Musical Theatre, Caleb Goh
Archiving the new, now, for future users yet unknown, Lelia Green, Cat Hope, Kylie J. Stevenson, and Tos Mahoney
Towards an interactive environment for the performance of Dubstep music, James Herrington
Cruel and Usual, Cat Hope
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
The Western Australian New Music Archive: Performing as remembering, Cat Hope, Lisa MacKinney, Lelia Green, Meghan Travers, and Tos Mahoney
Erst, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
Existence Éphémère, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
EXIT, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
Primorph, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
Study no. 48 [catalog1], Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
[under], Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
…with the fishes…, Cat Hope, Lindsay Vickery, Stuart James, Tristan Parr, Aaron Wyatt, and Louise Devenish
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