Submissions from 2013
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
Producing the moon : an account of the Festival of Perth, 1953-1999, Anne M. Rennie
Exploring the multi-generational influence of American ragtime music through the works of Charles Ives, William Walton and William Bolcom, Rebecca E. Smith
Adapting John Cage's Radio Music for a digital score player, Lindsay Vickery
The Evolution of Notational Innovations from the Mobile Score to the Screen Score, Lindsay Vickery
Digital adaptions of the scores for Cage Variations I, II and III, Lindsay Vickery, Catherine Hope, and Stuart James
Submissions from 2011
Aspects of rhythm in the music and improvisation in six pieces by bassist Avishai Cohen, Nicholas L. Abbey
Healing Through Belief, Biography, and Social Connection, Anomie
The piano music of George Frederick Pinto, Aidan Boase
Minimalism and the guitar, Melissa Claire Branson
A comparative study of selected saxophone quartet repertoire from the Mule, Rascher and Apollo Saxophone Quartets between 1928 and 1995, Jesse G. Deane
Proposed methods for efficiently attaining the skills required for accurate time keeping in music, Ben Falle
Using Clare Fischer's solo piano approach in Yesterdays to reinterpret Jazz standard repertoire, Christopher N. Foster
The improvisation of structured keyboard accompaniments for the ballet class, Simon Frosi
New Possibilities for Electroacoustic Music Performance, Cat Hope
Manifesting Meaning from a Performance of Cruelty: Parallels in the Musical Experimentalism of Antonin Artaud and Sub Ordnance, Cat Hope and Sam Gillies
Audible designs, Catherine Hope
Processes in Composition and Performance Leading to Performance, Catherine Hope
Spatialising Threads/Hallucinations: Closing the Gap Between Installation and Performance, Catherine A. Hope and Kynan Tan
Screen Scores: New Media Music Manuscripts, Cat Hope and Lindsay Vickery
Visualising the Score: Screening Scores in Realtime Performance, Cat Hope and Lindsay Vickery
Multidimensional Data Sets: Traversing Sound Synthesis, Sound Sculpture, and Scored Composition, Stuart James and Catherine Hope
JLD: The Exquisite Corpse of Beethoven, Johannes Luebbers, Stuart G. James, Emily R. Thomas, Stephanie Nicholls, Sean P. Little, Ben Collins, Callum G'Froerer, Doree Dixon, Tilman Robinson, Christopher Foster, Nicholas L. Abbey, Ben M. Falle, Aaron L. Malone, and Simon B. Jeans
Intimate encounters: A study of the interaction between dancer and observer, Caitlin MacKenzie
Markus Hallensleben (ed.), Performative body spaces: Corporeal topographies in literature, theatre, dance, and the visual arts [Book review], Jonathan W. Marshall
Richard Murphet, The rise and fall of the VCA [Book review], Jonathan W. Marshall
Organicism in Live Experimental Electroacoustic Music, Mark Mcmahon
Outback Dreaming: Peter Sculthorpe and the guitar, Jonathan R. Paget
Knowledge, Experience and a Dash of Rebellion: Dance Training in Australia, Maggi Phillips
Beijing Ninegates International Jazz Festival, Matthew J. Styles, Glyn MacDonald, Michael Perkins, and Nicholas L. Abbey
The synergy of visual projections and contemporary dance, Hannah Molly Timbrell
The Evaluation of Nonlinear Musical Structures, Lindsay Vickery
The Possibilities of Novel Formal Structures through Computer Controlled Live Performance, Lindsay Vickery
Submissions from 2010
The triple threat actor and the acquisition of music skills, Derek Bond
Postmodernism and the professional String Quartet, Kelly Michaela Curran
Dancing with risk: risk-taking as a performance practice in contemporary dance, Gemma Dawkins
The Seventeenth-Century Battaglie for Lute in Italy, Aiden Deasy
Music for trumpet and cornetto in the Duben collection, Breanna Michelle Evangelista
An interactive music system based on the technology of the reacTable, James Herrington
The ephemerality of dance, Abby Frances Johnson
Copyright, creative commons and artistic integrity, Yagan M. Kiely
Alexandra Kolb, Performing femininity: Dance and literature in German Modernism [Book review], Jonathan W. Marshall
The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance?, Rachel Perica
Musical networks in experimental electronic performance, Malcolm Riddoch and Jarryd Bird
John Hollenbeck's Compositional Technique: An Analysis and Creative Application, Tilman Robinson
The analysis of composition techniques in utp_: Synthetic composition for electroacoustic ensembles, Kynan Tan
Mobile scores and click-tracks: Teaching old dogs, Lindsay Vickery
A study of performance practices in recordings of Bach's Violin Sonata BWV 1003 from 1930-2000, Adrian Yeo
Submissions from 2009
Regulating the Notes : A Case Study Into the Impact of Government Regulation on the Live Music Performances of Perth's Original Contemporary Musicians, Christina Ballico
The success and sustainability of improvisation in a live performance context, Ashleigh Rose Berry
In music, poetry: A Britten song cycle and influences on a new work, Talitha Broughton
Dreaming in motion: Maintaining community, culture and identity of First Australians, Ian R.T. Colless
An investigation of specific structural techniques used by the Miles Davis Quintet on selected live recordings from 1964-1965, Callum G'Froerer
The classics and her cygnets: Classic choreographies and their contemporary (counter) parts, Leeke Griffin
'Youth Ventures Into the Unknown' developing an individual style of dance making, Kate Herron
Infrasonic music, Cat Hope
Cultural terrorism and anti music: Noise music and its impact on experimental music in Australia, Catherine Hope
The bottom end of cinema: Low frequency effects in soundtrack composition, Catherine Hope
The wonderment of the bleak: Sculpting the static, Catherine Hope