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Submissions from 2024

The belt’s got soul! an investigation into the vocal characteristics of r&b/soul singing and the production of the ‘belt voice’ within this style, Matthew Allen

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An immersive study of the artistry of Gilbert Biberian —guitarist, composer, and pedagogue— and creative responses from a musical apprenticeship, Stephanie J. Darcey

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Aggression and violence in the emergency department: A qualitative study exploring the perspectives of frontline healthcare professionals, Joshua Johnson, Sara Hansen, Luke Hopper, Luke Brook, Jessica Watson, and Brennen Mills

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US Armenian female playwrights writing the Catastrophe in the post-civil rights era, Sebnem Nazli Karali

The lyraflügel: Its history, design, and place in cultural heritage collections, Elly M. Langford

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Creative tools and the softwarization of cultural production, Frédérik Lesage and Michael Terren

Technique reframed body reimagined, Susan D. Peacock

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Music as a determinant of health among First Nations people in Australia: A scoping narrative review, Brigitta Scarfe, Kristy Apps, Naomi Sunderland, Phil Graham, Brydie Leigh Bartleet, Glenn Barry, Darren Garvey, Rae Cooper, and Clint Bracknell

Exhibition floor talk | Soiled, Cassandra Tytler and Lyndall Adams

Submissions from 2023

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Timing is everything, but does it really matter? Impact of 8-weeks morning versus evening iron supplementation in ballet and contemporary dancers, Caitlin Attwell, Alannah McKay, Marc Sim, Cory Dugan, Joanna Nicholas, Luke Hopper, and Peter Peeling

An investigation into theories of odd meter and their application to jazz composition and improvisation, Kristian Borring

The nexus between warm up preparation and optimal performance, Elizabeth Chapman

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Beyond the stomp: the Nobbs Suzuki Praxis as an Australian variant of the Suzuki Method of Actor Training, Antje Diedrich and Frances Barbe

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The space between writing and dancing: Dancingwords/wordsthatdance, Lara Dorling

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Why is Austin Butler still speaking in his Elvis voice? It could be a case of ‘role spill’, Luzita Fereday

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Playing music: Reconsidering game pieces through tabletop roleplaying game design, Izabelle French

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Sexisms and un/welcome diversity in Australian universities, Emily M. Gray, And Pasley, Mindy Blaise, Jacqueline Ullman, and Emma Fishwick

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Paramedic training, experience, and confidence with out-of-hospital childbirth (OOHB) in Australia, Michella G. Hill, Belinda Flanagan, Brennen Mills, Sara Hansen, and Luke Hopper

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Video Example 10. 'Filling in the gaps' of arpeggios, Judith A. Iddison

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Video Example 11. Improvising using the augmented second interval, Judith A. Iddison

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Video Example 12. Soloing on one, two and three strings, Judith A. Iddison

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Video Example 13. Improvising incorporating bigger intervals, Judith A. Iddison

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Video Example 14. Improvising with a D7 chord, Judith A. Iddison

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Video Example 15. Shifting fifths patterns, Judith A. Iddison

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Video Example 16. 'Outside' playing with pentatonic, Judith A. Iddison

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Video Example 17 Gregorio demonstrates rhythmic juxtaposition, Judith A. Iddison

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Video Example 18. Stylistic juxtaposition, Judith A. Iddison

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Video Example 1. The tabla and oud, Judith A. Iddison

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Video Example 20. Evoking flamenco vocal style, Judith A. Iddison

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Video Example 21. More elaborate ornamentation and hemiolas, Judith A. Iddison

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Video Example 22. Jazz influences, Judith A. Iddison

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Video Example 23. Bow percussion, Judith A. Iddison

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Video Example 24. Sequence to the stratosphere as part of Gregorio's cadenza(1), Judith A. Iddison

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Video Example 26. Gregorio comping, Judith A. Iddison

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Video Example 27. Blues-based ideas and motivic development in Swing 48, Judith A. Iddison

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Video Example 28. Improvisational fluency, surround technique, blues-based ideas, Judith A. Iddison

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Video example 29. Tension and release, 'horn-like' bent notes and Grappelliesque triplets, Judith A. Iddison

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Video Example 2. A 'great breath-like instrument', Judith A. Iddison

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Video Example 30. Bariolage and melodic devepment with extreme pitch, Judith A. Iddison

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Video Example 32. Opening phrase of Bollyrock, Judith A. Iddison

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Video Example 33. More elaborate ornamentation, Judith A. Iddison

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Video Example 34. Ornamental flourishes(2), Judith A. Iddison

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Video Example 35. Venturing 'outside' with arpeggiation, Judith A. Iddison

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Video Example 36. Birdcalls, Judith A. Iddison

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Video Example 38. Blues-based ideas with 'guitar' bends and wide vibrato, Judith A. Iddison

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Video Example 39. 'Horn-like', funk-based rhythms and blues-based ideas, Judith A. Iddison

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Video Example 3. A percussive chordal instrument and the African kora, Judith A. Iddison

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Video Example 40. Slides, wide vibrato and funk-based rhythms, Judith A. Iddison

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Video Example 42. Hints of melody amongst ornamental flourishes, Judith A. Iddison

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Video Example 43. Incorporating the augmented second and wide vibrato, Judith A. Iddison

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Video Example 44. Virtuosic flourish, Judith A. Iddison

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Video Example 45. Strong rhythms with extended harmonies, Judith A. Iddison

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Video Example 46. Incorporation of jazz language, Judith A. Iddison

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Video Example 47. Driving swing rhythm and half whole pattern, Judith A. Iddison

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Video Example 48. Driving syncopation, 'outside' harmonic tension and whole half, Judith A. Iddison

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Video Example 4. The African Kora, Judith A. Iddison

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Video Example 5. Octave viola, Judith A. Iddison

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Video Example 6. The phraseology of a saxophone, Judith A. Iddison

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Video Example 7. The nuances of a trumpet, Judith A. Iddison

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Video Example 8. Vibrato used to imitate a trumpet lip trill, Judith A. Iddison

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Video Example 9. Bow percussion, Judith A. Iddison

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"I don't want to dance anymore" - rediscovering the joy of dance beyond chronic pain, Amelie K. Ladyman

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Chopin’s polonaise in ab major, op.53: Constructing an informed interpretation, Arielle X. Lu

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Performance and interpretation: Beethoven's Opus 110, Izaac J. Masters

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I am _your_ pyrate dancer: Choreographic computabilities dancing inside the interstices of a visceral world, Nancy Mauro-Flude and Jo Pollitt

Migraine Therapy, Peter Mcavan

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I think things are precious, Vahri McKenzie

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Careful and curious: A transformative ethos for artistic evaluation, Vahri McKenzie, Denise Thwaites, and Cathy Hope

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Re-enactment as conversation: Yoshiko Shimada’s becoming a statue of a Japanese comfort woman, Vahri Mckenzie and Jen Webb

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Director training: A mine field or brave new world?, Gabrielle Metcalf and Andrew Lewis

Flow-state in Noongar performance, Kyle J. Morrison

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Investigating pre-professional dancer health status and preventative health knowledge, Joanna Nicholas and Sara Grafenauer

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Sideffect GamePlan: Development of an alcohol and other drug serious game for high school students using a systematic and iterative user-centred game development framework, Joanna Nicholas, Brennen Mills, Sara Hansen, Stephen J. Bright, Joseph Scott, Imogen Ridout, Jess Watson, Heather Boyd, Luke Brook, and Luke Hopper

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Psychological flow training: Feasibility and preliminary efficacy of an educational intervention on flow, Cameron Norsworthy, James A. Dimmock, Joanna Nicholas, Amanda Krause, and Ben Jackson

The mask & me: Exploring the correlations between autistic masking and performance, Mariah A. O'Dea

Leadership in interdisciplinary collaboration: Holding space for psychological safety and peak performance, Xin H. Ong

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La guitaromanie (1829) by Charles De Marescot (1790–1842): Unpacking the imagery and music of an iconic nineteenth-century guitar book, Jonathan Paget

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Comparing classical and jazz vocal techniques, styles, and pedagogies: The inquisitions and experiences of a classically trained soprano venturing into the realm of jazz vocal study, Charis O. Postmus

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One mob dreaming: Cultivating a working model for song-sharing between Koori and non-Koori children in the Bega Valley, New South Wales, Robin Ryan Cruse and Uncle Ossie Cruse

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Stick strokes and swing ratios of Billy Higgins, Benjamin Shelley

Exploring a feminist reclamation of Medea through percussion theatre, Mercedes A. Slack-Smith

Larry Sitsky’s Century: A response to selected twentieth-century notation, associated piano techniques, and performance possibility, Hannah Th'ng

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The cartographies of place: Approaches to audio-visual composition incorporating aspects of place, Wing S. Tsang

Square piano by Arnold Frederick Beck (London, 1780): Restorative conservation, what may be inferred, and a resultant teaching program, Paul L. Tunzi

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Fagotte forgotten? the bassoon in the early symphonies of Mozart, Haydn and contemporaries in the 1760s and 1770s, Katherine J. Walpole

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A musical analysis of Tosin Abasi's contemporary guitar techniques, thumping and selective picking, on the madness of many (2016), Ashton Weaver

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Exploring Nate Smith’s approach to improvising on the two-piece drum-kit through analysis of selected performances with the fearless flyers, Zachary S. Wise

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

Writing for multiple voices: A compositional project that employs the vocal composition and arranging techniques used by Imogen Heap, Shanae E. Campbell

How to succeed as a portfolio career percussionist in one of the world's most remote cities, Madeline G. Colvin

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With 9 Broadway musicals currently on Australian stages, musical theatre is thriving again, Craig Dalton

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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

Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation, Damian T. Foley

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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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Circus-specific extension of the International Olympic Committee consensus statement: Methods for recording and reporting of epidemiological data on injury and illness in sport 2020, Stephanie Greenspan, David Munro, Joanna Nicholas, Janine Stubbe, Melanie I. Stuckey, and Rogier M. van Rijn

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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

Talking back: A new theatrical representation of Noongar women's experience, Bobbi J. Henry