Submissions from 2011
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: Scultping the static, Catherine Hope
Kenny Wheeler: Melody, harmony and structure, Alice Humphries
Constellations, Pathways Through the Body : An Exploration Creating new Movement Pathways Using Dual Patterning, Gemma Laing
Shakespeare's verse and the training actor, Leith McPherson
Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance, Quindell Orton
Undressing and redressing the harlequin: An Australian designer's perspective, Julie Parsons
Artists, creativity and knowledge: A challenge for doctoral change, Maggi Phillips
Seeking excellence in danced postgraduate degrees, Maggi Phillips
Dancing doctorates down-under? Defining and assessing 'doctorateness' when embodiment enters the thesis, Maggi Phillips, Cheryl Stock, and Kim Vincs
The communicating dance, Alison Plevey
From dreams to nightmares : Cross-generational romance in mainstream American cinema, Sol Stern
Submissions from 2008
Protean careers and the performing arts: Antecedents for intrinsic motivation, Sophie Fernandes
Navigate your way through a sea of data, Korin S. Gath
Unmasking Albany : Addressing social issues through mask-work with young people in a Western Australian regional centre, Fleur Hockey
The possiblity of infrasonic music, Catherine Hope
Pathos, pathology and the still-mobile image: A warburgian reading of held by Garry Stewart and Lois Greenfield, Jonathan Marshall
Lynn Matluck Brooks, Ed., Women’s work: Making dance in Europe before 1800; Arthur Saint-Léon, La Sténochorégraphie; [and] Carlo Blasis, Il Trattato di Danza [Book review], Jonathan W. Marshall
Maaike Bleeker, Ed., Anatomy live: Performing and the operating theatre [Book review], Jonathan W. Marshall
Visualising the transient self: An examination of the intangible in creative work, Jaqueline Monks
New indeterminate music: The influence of the Cagean trajectory in the importance of being earmarked, Brett Philip Murray
Creativity's crossingforces: A danced interplay, Maggi Phillips
Dancing between diversity and consistency: Refining assessment in postgraduate degrees in dance, Maggie Phillips, Cheryl Stock, and Kim Vincs
Performing Le Merle Nair: An investigation into the performance issues in the music of Olivier Messiaen, Kirsten Smith
Performing the keyboard percussion works of Nebojsa Jovan Zivkovic, Joshua James Webster
Submissions from 2007
A methodology for thorough text preparation of German Lieder, Emma Louise Blake
Cinematography and choreography: "It takes two to tango", Laura Boynes
In Genius-Lee : An analysis of the improvisational style of Lee Konitz, Andrew Brooks
The new String Quartet : The evolution of the Hyperquartet, Rachael Dease
Facelift, Cat Hope
Making music as contemporary art, Catherine Hope
Silence as stillness? Sonic experiences in art using infrasonics, Catherine Hope
Vigilante Performance, Jonathan Marshall
Rehearsal and performance practices of minimalist music, specifically related to music for eighteen musicians by Steve Reich, Callum Moncrieff
Photography, dance and the concept of punctum, Rhiannon Newton
God's Lonely Men : Bernard Herrmann's musical voice for the lonely and tortured men of cinema, Clare Nina Norelli
Lost in translation: Making sense of dance through words, Paul T. O'Sullivan
Preparing the role of Tytania in Britten's A Midsummer Night's Dream: a handbook for singers, Emma Pettemerides
An investigation of musical life and music societies in Perth (Western Australia), 1900-1950, Jessica Sardi
Submissions from 2006
Performance design : the Western Australian Opera Company's contribution to performance design 1968-1997, Howard Bradfield
Through the window: The subject and the voyeur's gaze within cinema and video, James A. Doohan
Bob Brookmeyer: composer, performer, pedagogue, Mace Francis
The classical guitar in Paris: Composers and performers c.1920-1960, Duncan Robert Gardiner
Application of binaural recording in the video game industry, Max Leong
Transforming Messiaen : The Application of Elements of the Musical Language of Olivier Messiaen to the Contemporary Jazz Orchestra, Johannes Luebbers
An investigation into the spectral music idiom and its association with visual imagery, particularly that of film and video, Brett Mabury
The dancing mind, Rebecca McCormac
Creative interpretation and cello technique: A pedagogical handbook in the tradition of Michael Goldschlager and Bernard Greenhouse, Sacha McCulloch
The integrated sound, space and movement environment : The uses of analogue and digital technologies to correlate topographical and gestural movement with sound, Jonathan A. Mustard
What are the benefits of dance in relation to developing creative potential for the individual?, Shannon Riggs
The influence of genetics and the environment on human personalities, relationships and experiences, Patrice Smith
An investigation Into Lindsay Vickery's Rendez-vous: An opera noir, Adam Willett
Tan Dun's Eight Memories in Watercolor: Insights into performance, Zhen Zeng
Submissions from 2005
The bridge between, Clive Barstow
Orchestral engagements with rock music: a study of Michel Colombier's Wings as a catalyst for evolution- a Rock Symphony for jazz orchestra, Christopher de Groot
"Everything I've Listened to With Love" : A study of guitarist Wolfgang Muthspiel and his integration of classical music elements into jazz, Johanne Druitt
Invisible country, Margaret Hair
Voyeurages, Cat Hope
Developing a flexible and expressive realtime polyphonic wave terrain synthesis instrument based on a visual and multidimensional methodology, Stuart G. James
Inciting reflection: A short manifesto for and introduction to the discursive reviewing of the arts, Jonathan Marshall
Diversified Moves of a Specialised Ecology: Can this Art-Form be Sustainable?, Maggi Phillips
Submissions from 2004
Representations of recombinant memory in interactive performance works: Some recent examples, Jonathan Burtt, Katrina Lavers, and Lindsay Vickery
Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice, Iliana H. Jordanov