Submissions from 2012
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
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