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Submissions from 2022

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Dietary iron and the elite dancer, Caitlin Attwell, Cory Dugan, Alannah K. A. McKay, Joanna Nicholas, Luke Hopper, and Peter Peeling

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Mindfulness, recovery-stress balance, and well-being among university dance students, Peta Blevins, Gene Moyle, Shona Erskine, and Luke Hopper

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Performing kayepa dordok living waters in Noongar boodjar, South-Western Australia, Clint Bracknell, Pierre Horwitz, Trevor Ryan, and Jonathan W. Marshall

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Illuminating the motives of racism when adapting and directing The Merchant of Venice, Lucy Eyre

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The application of an ‘eternal dance’ methodology in the development of an original screenplay, Rose Ferrell

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Movement quantity and quality: How do they relate to pain and disability in dancers?, Danica Hendry, Amity Campbell, Anne Smith, Luke Hopper, Leon Straker, and Peter O’Sullivan

Maloya dance and music: Réunionese Créole togetherness, Marie-Muriel Hillion Toulcanon

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Out-of-hospital births and the experiences of emergency ambulance clinicians and birthing parents: A scoping review protocol, Michella Hill, Alecka Miles, Belinda Flanagan, Brennen Mills, and Luke Hopper

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Apple’s iPod came out two decades ago and changed how we listen to music. Where are we headed now?, Stuart James

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Traditional exams, 21st century employability skills and COVID-19: Disruptive opportunities for rethinking assessment design in higher education, Andrew Kelly, Catherine Moore, and Emma Lyons

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An exploration of octatonicism: From Liszt to Takemitsu, Yagan M. Kiely

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Cirqiniq: The decolonising of Social Circus in Nunavik, Katie Lavers, Jon Burtt, and Emmanuel Bochud

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A new musical, Panawathi Girl, is a fantasy of Australia’s past – and a critique of Australia’s present, Jonathan W. Marshall

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Outside-in or inside–out? The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand: Part one, Jonathan W. Marshall

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Ragpickers & radical naturalism: The conflicted discourse of Stanislavsky in Australia and Aotearoa New Zealand, part two, Jonathan W. Marshall

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Leadership in sustainability: Collective wisdom, conversations, creativity, contemplation and courage, the five pillars of a master’s teaching unit, Mike Mouritz, Peter Newman, Renée Newman, Jayne Bryant, Aimee Smith, and Elaine Olsen

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Enacting a feminist pause: Interrupting patriarchal productivity in higher education, Jo Pollitt, Mindy Blaise, and Emily Gray

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63.5% of Australia’s performing artists reported worsening mental health during COVID, Helen Rusak

Playing to the beat, a play, devising and collective creation in actor training, an exegesis, Andrew L. Smith

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Working together: Implications of leadership style for the music ensemble, Andrew Sutherland and Phillip A. Cartwright

Submissions from 2021

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Minimising the risks of 21st Century violence: The balance of ethics and creativity in staging Simon Stephens’ Motortown, Michael Abercromby

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Making the most of life’s uncertainty: An analysis of the philosophies and musical language of David Ades, Joshua Appleby

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Adapting barbershop harmony for the saxophone quartet, Jonathon Astbury

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Supporting the performance of Noongar language in Hecate, Clint Bracknell, Kylie Bracknell, Susan F. Studham, and Luzita Fereday

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‘Shoulder to shoulder: Sweat and joy’–training with gravity and other myths, Jon Burtt, Katie Lavers, and Lachlan Binns

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Entrepreneurial orientation among arts managers in Western Australia, Alistair J. Campbell and Helen Rusak

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Performer training evolutions: NSP the firstborn son of SMAT, Chelsea Crothers

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Transcreation of the accent class to the online platform, Acacia Daken

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Applications of Béla Bartók's techniques of pitch organisation to jazz improvisation, Niran Jay Dasika

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Flip flop: the un-Australian history of the rubber thong, Lydia Edwards

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Understanding Stage Management in the 21st century in Australia: A Preliminary Survey, Ping Sum (Teresa) Fok

Melodic improvisation strategies found in the improvisation of Peter Bernstein, Samuel H. Forster

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Tomasi Trumpet Concerto, Brent Grapes and West Australian Symphony Orchestra

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Between activism and academia: Zine-making as a feminist response to COVID-19, Emily M. Gray, Joanna Pollitt, and Mindy Blaise

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TLC, Freddie Grigson, Tom O'Halloran, and Chris Tarr

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Mapping the terrain, Chris Hay, David Shirley, Sarah Peters, and Soseh Yekanians

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An examination of Graham Fitkin’s saxophone music and implications for the modern saxophonist, Sean Hayes

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Development of a machine learning model for the estimation of hip and lumbar angles in ballet dancers, Danica Hendry, Kathryn Napier, Richard Hosking, Kevin Chai, Paul Davey, Luke Hopper, Catherine Wild, Peter O'Sullivan, Leon Straker, and Amity Campbell

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2 minutes from home, Cat Hope, Tristan Parr, Aaron Wyatt, Louise Devenish, Lindsay Vickery, Stuart James, and Decibel New Music Ensemble

“Lady Essex Minuet” from Longman and Broderip’s Compleat Collection of 100 of the most favorite Minuets (ca. 1780), James Huntingford

Second movement—Larghetto con Espressione—of Sonata in B-flat major, Op. 12, no. 1 (1784) by Muzio Clementi, James Huntingford

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Tasteful piano performance in classic-era Britain, James Huntingford

The improvisational art of Shenzo Gregorio: Exploring his transition from classical violinist to cross-genre improviser, Judith A. Iddison

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Developing a music composition practice: Exploring the choreography of cymatics, Joshua Jervis

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W.F. Bach & J.G. Müthel: Complete works for two fortepianos, Geoffrey Lancaster and James Huntingford

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Cheek to cheek: Transforming a compositional practice through collaboration, Johannes Luebbers

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Critical mimicry and the deadman dance: Marrugeku’s Burrbgaja Yalirra, Jonathan W. Marshall

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Galup theatrical walking tour recalls the dancing and violence of the colonial encounter, Jonathan W. Marshall

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Hysterical aesthetics in contemporary performance: Theatre, dance, voice, Jonathan W. Marshall

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Design, sound and compositional aesthetic: The grand piano in late eighteenth-century London and Vienna, Izaac Masters

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The Matusiflute: A bi-timbral flute modification and the cultural influences that inform its performance practice and repertoire, Joshua Gabriel McMahon

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Exploring and reapplying Wayne Krantz’s method of constructing the album Greenwich Mean, Christian A. Meares

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Multimodal learning for dyslexic musicians: Practical applications for adults, Melissa Mikucki

Creative constraints: Developing a method for restrictive jazz composition, Harry Mitchell

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Development and feasibility of a mobile phone application designed to support physically inactive employees to increase walking, Joanna C. Nicholas, Nikos Ntoumanis, Brendan J. Smith, Eleanor Quested, Emmanuel Stamatakis, and Cecilie Thøgersen-Ntoumani

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Perspectives on the relationship between theatre and education: A West Australian case study, Ceri Anne Nordling

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Axiom [studio recording], Tom O'Halloran, Pete Jeavons, and Daniel Susnjar

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From Iran to Australia: Intercultural encounters in music, Kate Pass

The art of unknowing: Using improvisation to explore kinaesthetic attention in contemporary dance repertoire, Jessica Pettitt

An investigative practice-led project into the vocal characteristics in Jeff Buckley’s song ‘Grace’, Madoc R. Plane

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Weather bodies: Experimenting with dance improvisation in environmental education in the early years, Jo Pollitt, Mindy Blaise, and Tonya Rooney

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Choreographing collaboratories: Studios of situated improvisations, Jo Pollitt, Sylvia Kind, Cristina Delgado Vintimilla, and Lilly Blue

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Glass ceilings, glass harmonicas: Challenges for women in musical leadership, Helen Rusak

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From the ground up: Growing an Australian Aboriginal cultural festival into a live musical community, Robin Ryan, Jasmin Williams, and Alison Simpson

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Judges’ evaluation reliability changes between identifiable and anonymous performance of hip-hop dance movements, Nahoko Sato and Luke S. Hopper

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Vital performance: Historically informed Romantic Performance in Cultural Context, Andrew John Snedden

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From the sandy beaches of Crab Creek to the Tarkett of WAAPA: A case study of intrinsic praxis in teaching methods of movement, Simon Stewart and Renée Newman

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‘It’s All in The Timing’ – A Research Project that explores the complexities in the relationship of Actor to Audience, in Musical Theatre, Crispin Taylor

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Sound art as ways of exploring aspects of space, Cissi Tsang

Mirovia Ocean for chamber orchestra and electronics, Lindsay Vickery

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Graded exercise stress test scenarios and incidences for exercise physiologists: Is there scope for training and assessment via virtual reality technology?, Andrew Walsh, Brennen Mills, Sara Hansen, Luke Hopper, and Favil Singh

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Exploring a compositional practice through the lens of The Butterfly Lovers Violin Concerto, Jie Hong Yang

Exercise 10 duet improvisation, Min Zhu

Exercise 11 crossed and circular walking, Min Zhu

Exercise 1 moving with focused consciousness, Min Zhu

Exercise 2 grounded walking, Min Zhu

Exercise 3 creating your space, Min Zhu

Exercise 4 qi ball improvisation, Min Zhu

Exercise 5 moving in the qi-field, Min Zhu

Exercise 6 mapping, Min Zhu

Exercise 7 walking in the water with the Tai Ji diagram, Min Zhu

Exercise 8 pushing the stake with the body center, Min Zhu

Exercise 9 vibration of the lower dantian, Min Zhu

Penanegra show, Min Zhu

Submissions from 2020

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Silent chill: A spectral analysis of Akira Yamaoka’s Silent Hill 2 original soundtrack, Casey Nicole Atkinson

Jekyll nightmare, Hugo Belviso

Jekyll on inversion table, Hugo Belviso

Jekyll's dance, Hugo Belviso

Jekyll's fall, Hugo Belviso

Jekyll's Hide compilation-trailer, Hugo Belviso

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The Jekyll’s Hide Project. Devising Jekyll’s Hide: A critical analysis of the performative elements and working methods of Jerry Lewis and the butoh dancers Tatsumi Hijikata and Kazuo Ohno, Hugo Belviso

Vermin crawl, Hugo Belviso

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Student and teacher attitudes towards overtraining and recovery in vocational dance training, Peta Blevins, Shona Erskine, Gene Moyle, and Luke Hopper

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‘Come all savage creatures’: Becoming Bakkhai in the southwest of Western Australia, Kathy Boxall and Vahri McKenzie

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Rebuilding as Research: Noongar song, language and ways of knowing, Clint Bracknell

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The Emotional Business of Noongar Song, Clint Bracknell

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Mayakeniny: Restoring on-Country performance: Noongar performance and language resources, Clint Bracknell, Pierre Horwitz, Daniel McAullay, Linda Barwick, Aaron Allen, Bobbi Henry, Kyle Morrison, Trevor Ryan, and Amy Budrikis

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Glass ceilings and nylon strings: Reflections on Australian women’s contribution to classical guitar repertoire, Abbey Lee Bradstreet

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Voice in Motion: Connecting voice, acting and movement in contemporary dance, Sarah Chaffey

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Alluvium, Erin Coates, Stuart James, and Louise Devenish