WAAPA Research Institutes, Centres and Supervisors … · He is a regularly-commissioned composer and lectures in jazz composition, as well as improvisation, ensemble studies, and

WAAPAResearch Institutes, Centres & Supervisors 2018

Founding Pianos Led by Professor Geoffrey Lancaster, and bolstered by a growing hub of research expertise, WAAPA is positioning itself as a leader in the area of historic keyboard instruments and historically-informed performance practice (HIP). This endeavour was recently advanced by the receipt of a multi-million dollar collection of some 140 historic keyboards (many of them rare English square pianos) gifted to WAAPA by Mr Stewart Symonds. This collection includes Australia’s first-fleet piano, which arrived on board the Sirius as part of the first fleet in 1788, and was originally owned by the ship’s surgeon George Worgan. As part of this endeavour, the university has embarked on a major program of philanthropy called Founding Pianos, which aims to raise significant funds for piano restoration and research, including planned postgraduate research scholarships connected with the piano collection. WAAPA has a long-term vision to restore many of these instruments, to create a museum, and a useable collection for performance, recording, and research.

ContentsMessage from the Associate Dean of Research 3

Research Courses at WAAPA 4

This Is Not A Seminar (TINAS) 5

Centre for Research and Entertainment, Arts, Technology, Education and Communications (CREATEC)

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Our Researchers 8

In Memoriam 24

Research Highlights 25

Applying for a Research Degree 27

ECU is committed to reconciliation and recognises and respects the significance of Aboriginal and Torres Strait Islander peoples’ communities, cultures and histories. ECU acknowledges and respects the Aboriginal and Torres Strait Islander peoples, as the traditional custodians of the land. ECU acknowledges and respects its continuing association with Nyoongar people, the traditional custodians of the land upon which its campuses stand.

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Message from the Associate Dean Research

The Western Australian Academy of Performing Arts is unique within Australia in covering the broadest spectrum of performing arts disciplines—ranging from music (classical, jazz, contemporary, opera, composition) to music theatre, acting, performance, dance, production and design, arts management, and more.

Our researchers are an elite cohort of artists and practitioners who aspire to innovation, excellence, and leadership—both within their creative practice and through their contributions to academic discourse. They are highly active and well-connected within the performing arts industry and with scholarly peers, both nationally and internationally. Our research takes many forms: from traditional written outlets, to the various species of creative practice (so-called ‘non-traditional research outputs’). The Western Australian Academy of Performing Arts is a rich and stimulating research environment, where the brightest and most talented aspire to make a difference in their respective fields of artistic endeavour.

Across the range of expertise in the school, there are many examples of success, not the least of these being emerging research strengths in music composition, early keyboard, practice-led research, and motion capture technology. As you peruse these pages, exploring the diverse stories of our key researchers, I would encourage you to make contact with those people relevant to your field and interests. If you have the passion and motivation for postgraduate research in the performing arts, then we look forward to hearing from you!

Associate Professor Jonathan PagetAssociate Dean ResearchWestern Australian Academy of Performing Arts

Key Research AreasWAAPA research activity is carried out within its research centres and groups:• This Is Not A Seminar (TINAS)• Centre for Research and Entertainment, Arts,

Technology, Education and Communications (CREATEC)• Contemporary Arts & Performance Research

Group• Music Research Group (MRG)• Dance Research Group (DRG)

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Research Courses at the Western Australian Academy of Performing ArtsEver asked why? Then you could be a researcher… What happens when a musical note is divided into its infinitesimal parts and re-configured for different instruments? What happens if Macbeth was set in the fly-in-fly-out mental and physical landscapes of the Pilbara? How can the tension and resonance of violin playing be transferred into dancing bodies? Who are the historically important choreographers of classical ballet in regional Western Australia?

Artists lives, their creations and performing arts’ products can propel dynamic research.. WAAPA staff and postgraduate students are currently involved in a multitude of projects across the disciplinary range of the Academy to find out the why, what, how, who, when or where of artistic practices, past and present, future and contemporary.

Some researchers look back to figure out who was important in the consolidation of arts, or why particular strategies in teaching or the creation of work proved to be successful (or otherwise)—research about the practices of the performing arts. Other researchers make investigations in the moment, creating a design, a musical score, a complex prop, a performance work, poem or film—research in the practices of the performing arts.

Whether conceived as process or product, performing arts’ research is alive and well, in historic projects, and established concentrations in music and dance, or in the exploratory and emergent fields across the disciplines of the performing arts that include but are not limited to choreography, directing, composition, musicology, jazz and classical performance, arts health, acting, scriptwriting, and more. What is your research question?

What Research Programs Do We Offer? WAAPA offers a four-year Doctor of Philosophy (PhD), a two-year Master of Arts (MA) in Performing Arts, and Honours degrees in music, dance, and performance. A four-year integrated PhD is also available, where the first year offers coursework for those who have been away from academia for some time. We welcome part-time and international enrolments, and can assist with access to scholarships.

Admission Requirements Candidates will be assessed on their academic, research and professional experience. Candidates can only be admitted if there is supervisor capacity and expertise in the field of research.

For more information, visit: www.waapa.ecu.edu.au/research-and-creative-activity

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This Is Not A Seminar (TINAS) is a weekly interdisciplinary creative research forum that is intricately bound up in explorations of ‘practice-led’ research—for which WAAPA has positioned itself as a leading Australian centre. TINAS includes a conversation series, critical reading sessions, as well as workshops designed to extend and broaden research skills in a multiplicity of inter-related methodologies. The philosophy of TINAS is to encourage students to embrace creative research beyond their principal practice in order to develop and extend their knowledge base both conceptually and methodologically. TINAS values the non-conventional dialogue platform, which encourages participants to ask probing questions, and to expand their knowledge base. Wilkie, Gaver, Hemment and Giannachi (2010) describe this as “creative assemblage” in which a dynamic and rigorous research approach becomes the basis for sharing disciplinary knowledge. They also refer to this process as “open” dialogue. TINAS was initiated as a platform to uncover how our art and research reflect our diverse approaches to the world, as practitioners and scholars.

Contact: Dr Lyndall Adams ([email protected]) or Dr Renee Newman ([email protected])

This Is Not A Seminar (TINAS): Creative Research Dialogues

If you are interested in applying to ECU and want to discuss a specific project proposal, please contact:

Dr Jonathan W Marshall Higher Degree by Research Coordinator Telephone: (61 8) 6304 6129Email: [email protected]

A/Prof Jonathan Paget Associate Dean ResearchTelephone: (61 8) 6304 6404Email: [email protected]

Dr Matthew Styles - Music Honours CoordinatorTelephone: (61 8) 6304 6065Email: [email protected]

Dr Luke Hopper - Dance Honours CoordinatorTelephone: (61 8) 6304 8234Email: [email protected]

Dr Helen Rusak - Arts Management Honours CoordinatorTelephone: (61 8) 6304 6160Email: [email protected]

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Centre for Research and Entertainment, Arts, Technology, Education and Communications (CREATEC)CREATEC collaborates with the community, government, and industry to provide innovative research solutions and knowledge transfer that helps solve real-world problems. CREATEC also holds regular research seminars and intensive retreats to facilitate and enable CREATEC researchers to discuss, develop, and increase their research outputs.

CREATEC is supported by both the School of Arts and Humanities and the Western Australian Academy of Performing Arts (WAAPA), and actively supports staff and postgraduate students in applying for research grants. The focus is collaborative research through seven themed research groups: • Contemporary Arts & Performance;• Contemporary Visual Arts;• Design and Interaction;• Landscape and Language;• Media, Culture and Society;• Space, Place, Body and Technology;• Time, Text and People;• Music; and• Dance.

CREATEC promotes a research culture, and fosters cross-disciplinary collaboration between research groups, faculties, individuals and other universities. It also aims to promote a research-mentoring program, which encourages Professors and Associate Professors to collaborate with early career researchers through regular seminars and workshops. CREATEC runs weekly research seminars and encourages academics, non-academics, adjunct and higher degree by research candidates to present.

CREATEC also encourages visiting scholars to engage in collaborative opportunities, provide expert knowledge and assists in projects as needed.

For more information, visit: www.waapa.ecu.edu.au/research-and-creative-activity/research-centres/centre-for-research-and-entertainment-arts-technology-education-and-communications

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Contemporary Arts & Performance Research Group Alternative practices and experimentation underscore the research focus within the Contemporary Arts and Performance Group. Through the diverse range of processes and products, artistic investigations question the human condition and draw attention to the various ways in which knowledge is experienced, conceived and conveyed.

Music Research Group (MRG)The artistic application and interrogation of sound in its multiple manifestations across time are principal concerns of this group of researchers who engage practice-led and traditional musicological approaches. The group’s membership encompasses several areas of research strength, including: 1. New music and music technology.

WAAPA has a vibrant and innovative program in the composition and performance of new music, and music technology, with a particular strength in electro-acoustic composition, improvisation, and performance. This is led by the internationally-acclaimed new music group Decibel, and is supported by a large and dynamic group of postgraduate students and research staff. Contact: Dr Lindsay Vickery ([email protected])

2. Early music and historical performance practice WAAPA is rapidly becoming a leading institution in early music and historical performance practice, with a particular specialty in early keyboard, supported by a fabulous collection of historic and replica instruments—including the Stewart Symonds Collection of some 140 historic pianos. Contact Professor Geoffrey Lancaster ([email protected])

3. Jazz and contemporary music One of Australia’s most well-established centres in Jazz, WAAPA is also an innovative leader in contemporary (commercial) music, supported by a growing cohort of relevant researchers. Contact: Dr Matthew Styles ([email protected])

Dance Research Group (DRG) The Dance Research Group (DRG) promotes and investigates dance as a form of embodied knowledge. It focuses on creative arts practice through choreography, pedagogy, and performance, giving voice to those endeavours otherwise associated with ‘the non-verbal body’. The group hosts a state-of-the art motion capture laboratory, where movement can be measured according to new scientific and biomechanical modalities. This facility enables interdisciplinary research projects focusing on performing arts wellness and injury prevention.Contact: Dr Luke Hopper ([email protected])

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Associate Professor Jonathan PagetAssociate Dean ResearchDMusArts, MMus, MA, BMus (Hons)Jonathan Paget is a leading Australian exponent of the classical guitar. A Fulbright and Hackett scholar, Paget holds Masters and Doctoral degrees from the Eastman School of Music (USA). He is a senior lecturer at the Western Australian Academy of Performing Arts, Edith Cowan University (Perth) and Acting Associate Dean of Research. Jonathan has supervised postgraduate research on a variety of topics, and has published on Sculthorpe, Australian guitar music, and music analysis. An acclaimed performer on the classical guitar, he has won first prize in several national and international competitions and has appeared at significant festivals such as the Darwin International Guitar Festival, the Perth International Arts Festival, the Australian Festival Baroque, and the Port Fairy Spring Music Festival. He has released two solo CDs: Kaleidoscope, and Midsummer’s Night. He is President of the Classical Guitar Society of Western Australia Inc., the Fulbright Alumni Association (WA Chapter), and the Musicological Society of Australia (WA Chapter).

Selected PublicationsJournal Articles• Paget, J. (2013). Has Sculthorpe misappropriated indigenous melodies?

Musicology Australia, 35(1), 86-111.

Published Conference Proceedings• Yeo, A., Paget, J., (2017), A Longitudinal Study of Performance Practices in

Recordings of Bach’s Violin Sonata BWV1003. Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance Analysis, 24-39, Perth, Australia, Western Australian Chapter of the Musicological Society of Australia.

• Paget, J., (2017), Recent Sonata Theory and the performance of Early Nineteenth-Century Guitar Sonatas. Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, 105-121, Perth, Australia, Western Australian Chapter of the Musicological Society of Australia.

• Paget, J. (2015). Musical exchange and soft power: The potential benefits and risks. In Proceedings of the 2013 Fulbright Symposium: Soft Power, Smart Power: The Multiplier Effect of Educational and Cultural Exchange (pp. 59-62). Canberra, Australia: Australian-American Fulbright Commission.

Non-Traditional Research Outputs• Paget, J., (2016), Goes with the Territory: Australian Guitar Music. Goes

with the Territory, University of Technology Mara; Residency of the Australian High Commission, Malaysia.

• Paget, J., (2016), The Application of Sonata Theory to the Performance of the Bel Canto Guitar. Various: Guitarre: A Twilight Concert of Romantic Guitar Music; Playmakers: Home Played Two: Sunset Guitar Classics at the Rocks; Classical Guitar Society Orchestra in Concert with Special Guest Artist Jonathan Paget on 19th Century Guitar, Perth International Arts Festival Great Southern, The Rocks, Albany.

• Paget, J., Smith, S. (2015). Rediscovering Bel Canto gems for piano and guitar. In Grove Classics 2015: A Viennese Bouquet. The Grove Library Building, Peppermint Grove.

Contact:Email: [email protected]: (61 8) 6304 6404

Research Interests: • Australian music• Music for guitar and plucked

instruments• Historical performance practices

on theorbo and 19th century guitar

• Music theory pedagogy

Our Researchers

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Dr Jonathan W MarshallHigher Degree by Research CoordinatorPhD, MA, BA (Hons)Dr Jonathan W. Marshall is an interdisciplinary scholar with a background in history. Marshall’s monograph Performing Neurology deals with the use of theatrical concepts in the work of founding neurologist J.-M. Charcot (with whom Freud studied) and his influence, including the French horror theatre the Grand Guignol. In January 2016, he moved from the University of Otago in New Zealand, to return to the West Australian Academy of Performing Arts, Edith Cowan University, where he had previously been a postdoctoral fellow, 2004 – 2008. Jonathan is now the Coordinator of Research, Higher Degrees and Creative Practice, at WAAPA.

Selected PublicationsBooks• Marshall, JW. (2016). Performing neurology: The dramaturgy of Dr Jean-

Martin Charcot. New York, USA: Palgrave Macmillan. DOI: 10.1057/978-1-137- 51762-3.

Book Chapters• Marshall, JW., (2017), A Dramaturgy of Montage and Dislocation: Brecht,

Warburg, Didi-Huberman & the Pathosformel. Ethical Exchanges in Translation, Adaptation and Dramaturgy, 187-209, Leiden, Rodopi.

Journal Articles• Marshall, JW., (2017), “Absence, Presence, Indexicality: The Mise en Scene

of `the Heart of Neolithic Orkney’”. Theatre Research International, 42(1), 72-90, Cambridge, Cambridge University Press, DOI: 10.1017/S0307883317000074.

• Marshall, JW., (2017), Trophies Remain: The history of New Zealand resource extraction and the Meat Fence photo-project. Performance Research: a journal of the performing arts, 22(8), 86-98, London, Routledge, DOI: 10.1080/13528165.2017.1433384.

• Marshall, JW. (2015). Staging critical history within the space of the beat or what cultural historians can learn from the public enemy, NTM, MC Solaar & George Clinton. New Zealand Journal of Media Studies, 15(1): 134-153. DOI: 10.11157/medianz-vol15iss1id9.

• Baudrillard, J., Marshall, JW. (2013). Theatre of revulsion. The Journal of Performance Studies, 57(4), 52-59. DOI: 10.1162/DRAM-a-00302.

• Marshall, JW. (2013). The world of the neurology ward: Hauntology and European modernism, mal tourne in Butoh. The Journal of Performance Studies, 57(4), 60-85. DOI: 10.1162/ DRAM-a-00303.

Non-Traditional Research Outputs• Spiers, J., Marshall, JW., (2014), Meat Fence. Meat Fence, Perth Centre for

Photography.

Recent Research Grants• Curating the Performing Arts: Improvisation as a mechanism to engage

diverse and local communities in arts programs, Perth Institute of Contemporary Arts Ltd, Scholarships to Support Industry Engagement PhD Projects, 2017 - 2020, $29,000.

• AusStage phase 6: Visualising venues in Australian live performance research. Australian Research Council, Grant - Linkage (Infrastructure), 2017, $62,685.


Research Interests: • History, performance and art

criticism

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Dr Lyndall AdamsPhD, MA, BA (Hons)Lyndall Adams is a contemporary visual artist and Senior Research Fellow in the School of Arts and Humanities and the Western Australian Academy of Performing Arts at Edith Cowan University. Lyndall is an arts practice-led researcher drawing influences from the interface between post-structuralist and new materialist feminist thinking. Her arts-practice articulates the female body; the lived body that is determined and specific though paradoxically in a state of flux, defined and redefined by changing practices and discourses. Her areas of interest range from feminisms, dialogics, and contemporary culture. Her current research projects encompass collaboration, and interdisciplinarity, with a focus on the curatorial potential for the analysis of the processes inherent in both. Lyndall has participated in solo, collaborative and group exhibitions within Australia and internationally.

Selected PublicationsJournal Articles• Adams, L., Kueh, C., Newman, R., Ryan, J., (2015), This is Not an Article:

a reflection on Creative Research Dialogues (This is Not a Seminar). Educational Philosophy and Theory, 47(12), 1330-1347, London, DOI: 10.1080/00131857.2015.1035630.

Published Conference Proceedings• Adams, L., Barstow, C., Uhlmann, P., (2017), What is ERA really

measuring?. ACUADS 2016 Adaption, 1-12, QUT Creative Industries Faculty, Brisbane, The Australian Council of University Art and Design Schools.

• Adams, L., Newman, R., (2017), Capturing creative research in the academy. HERDSA Research and Development in Higher Education: Curriculum Transformation, 40(27-30 June 2017), 1 - 11, Sydney, Australia, Higher Education Research and Development Society of Australasia, Inc.

• Adams, L., Newman, R. (2016). Collisions, co-opting and collaboration: Reflections on the workings of an interdisciplinary collaborative project. In InConversation, ACUADS Conference 2015: Art and Design Education in the Global 24/7, 12.

• Adams, L., Newman, R., Ferguson, N., Kueh, C. (2015). Messy never-endings: Curating InConversation as interdisciplinary collaborative dialogue. In Australian Council of University Art and Design Schools Conference 2014: The Future of the Discipline.

• Adams, L., Kueh, C., Newman, R., Ferguson, N. (2015). Capturing creative practice. In Australian Council of University Art and Design Schools Conference 2014: The Future of the Discipline.

Non-Traditional Research Outputs• Adams, L., (2014), archiving the family. Espresso Self 2014, Spectrum

Project Space, Edith Cowan University.• Adams, L., Newman, R., Kueh, C., (2014), inConversation catalogue.

inConversation, Spectrum Project Space, Edith Cowan University.• Adams, L., Newman, R., Kueh, C., (2014), inbetween. inConversation,

Spectrum Project Space, Edith Cowan University.


Research Interests: • Feminisms• Dialogics• Contemporary culture

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Dr Frances BarbePhDDr Frances Barbe commenced at WAAPA in November 2012 as course coordinator of the new Bachelor of Performing Arts in performance making. Her teaching in this undergraduate course includes the areas of movement, devising, and performance.

Her research interests and supervision covers performer training, creative process, intercultural performance, Japanese dance (particularly butoh), Japanese theatre (particularly Tadashi Suzuki’s work), yoga, meditation, and the body in performance.

Alongside her academic work, she is a performance practitioner specialising in movement-based performance. She trained first in dance, then in theatre. Since 1992 she has trained internationally in butoh and Suzuki’s actor training. She qualified as a yoga teacher in 2004.

Based in Europe from 1996 – 2011, she was a performer with Tadashi Endo’s Butoh Mamu Dance Theatre in Germany, while also creating her own work for Fran Barbe Dance Theatre in London. Her work has toured the UK as well as to Japan, the US, Singapore, Italy, and Spain. She has worked as movement director and assistant director on a range of international projects across opera, circus, and theatre.

She was artistic director of two international butoh festivals in London in 2003 and 2009. She was co-founder and director of the Theatre Training Initiative in London 2000–2010, programming workshops and masterclasses for performance practitioners at various stages in their careers.

Selected PublicationsNon-Traditional Research Outputs• Barbe, F., (2016), Exquisite: An intercultural encounter with grief. Exquisite,

part of Deathfest, Metro Arts, Brisbane, Metro Arts.• Barbe, F., Smith, A. (2015). Tender napalm (co-director). In 8th Asia-Pacific

Bureau Theatre Schools and Director’s Conference. Singapore Airline Theatre, Singapore.


Research Interests: • Performer training• Intercultural performance• Japanese theatre and dance

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Dr Luke HopperPhD, BSc (Hons)Dr Luke Hopper completed a PhD specialising in the biomechanics of dance and injury prevention at the University of Western Australia’s School of Sport Science, Exercise, and Health in 2011. He coordinated the biomechanics module in the pioneering Master’s of Dance Science at the Trinity Laban Conservatoire of Music and Dance in 2010 before commencing as a lecturer in biomechanics at the University of Notre Dame Australia. His work in dance science and performing arts health has involved several collaborations with international ballet companies such as the Birmingham Royal Ballet and with industry partners Harlequin Floors. He continues to work with the International Association of Dance Medicine and Science and the Australian Society for Performing Arts Healthcare in the development and dissemination of health evidence in preventing injury and illness in performing artists. In his position at ECU, he is developing a health education and research program for the performing arts using his specialised skills in biomechanical 3D motion capture facilities and in collaboration with the WAAPA staff and students.

Selected PublicationsJournal Articles• Carter, S., Sato, N., Hopper, L., (2017), Kinematic repeatability of a multi-

segment foot model for dance. Sports Biomechanics, 17(1), 48-66, Oxon, United Kingdom, Routledge, DOI: 10.1080/14763141.2017.1343864.

• Carter, S., Duncan, R., Weidemann, A., Hopper, L., (2017), Lower leg and foot contributions to turnout in female pre-professional dancers: A 3D kinematic analysis. Journal of Sports Sciences, online(online), 1-10, London, Routledge.

• Sato, N., Nunome, H., Hopper, L., Ikegami, Y., (2017), Ankle taping can reduce external ankle joint moments during drop landings on a tilted surface. Sports Biomechanics, online(online), 1-11, United Kingdom, Routledge, DOI: 10.1080/14763141.2017.1375552.

• Meyer, K., Chan, C., Hopper, L., Nicholson, L., (2017), Identifying lower limb specific and generalised joint hypermobility in adults: validation of the Lower Limb Assessment Score. BMC Musculoskeletal Disorders, 18(514), 9p., BioMed Central, DOI: 10.1186/s12891-017-1875-8.

• Woods, C., Cripps, A., Hopper, L., Joyce, C., (2017), A comparison of the physical and anthropometric qualities explanatory of talent in the elite junior Australian football development pathway. Journal of Science and Medicine in Sport, 20(7), 684-688, Elsevier, DOI: 10.1016/j.jsams.2016.11.002.

• Cripps, A., Joyce, C., Woods, C., Hopper, L., (2017), Biological maturity and the anthropometric, physical and technical assessment of talent identified U16 Australian footballers. International Journal of Sports Science and Coaching, 12(3), 344 - 350, DOI: 10.1177/1747954117710507.

• Carter, SL., Bryant, AR., Hopper, L., (2017), Lower-Leg and Foot Contributions to Turnout in University-Level Female Ballet Dancers. A Preliminary Investigation. Journal of the American Podiatric Medical Association, 107(4), 292-298, DOI: 10.7547/15-142.

• Chan, C., Hopper, L., Zhang, F., Pacey, V., Nicholson, L., (2017), The prevalence of generalized and syndromic hypermobility in elite Australian dancers. Physical Therapy in Sport, online(online), 1-10.

• Hopper, L., Weidemann, A., Karin, J., (2017), The inherent movement variability underlying classical ballet technique and the expertise of a dancer. Research in Dance Education, online(online), 1-11.


Research Interests: • Performance enhancement and

injury prevention for performing artists

• Dance science• Performing arts health• Biomechanics• Motor control

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Dr Stuart JamesPhDStuart is a Western Australian composer, performer, and audio engineer who has been commissioned to write works for the ABC, Decibel Ensemble, Tetrafide Ensemble, the WASO New Music Ensemble, percussionist Louise Devenish, and visual artist Erin Coates. Stuart’s work has also been performed by the Tasmanian Symphony Orchestra and Michael Kieran Harvey. He has studied composition with American composer Allison Applebaum, British composer Anthony Payne (BBC), Roger Smalley, Nigel Butterly, Lindsay Vickery, and Cathie Travers. Stuart won the state finals of the ASME young composers’ competition, won the Dorothy Ransom composition prize whilst at UWA, and has also been nominated for Australian Music Centre Awards for his percussion pieces Temperaments and Kinabuhi | Kamatayon. He works as a full-time lecturer as part of the composition and music technology course at WAAPA, and operates his own commercial recording studio, The Soundfield Studio, recording and mixing notable artists including ShockOne, Kele Okereke, JMSN, Ta-ku, Loston, Jamie Page, and many others. He recently received his doctorate for research in spatial audio, spectral synthesis, and wave terrain synthesis.

Selected PublicationsJournal Articles• Vickery, L., Devenish, L., James, S., Hope, C., (2017), Expanded Percussion

Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery. Contemporary Music Review, 36(1-2), 15-35, Oxon, United Kingdom, Routledge, DOI: 10.1080/07494467.2017.1371879.

Published Conference Proceedings• James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X., Hajdu, G.,

(2017), Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore. Proceedings of the Third International Conference on Technologies for Music Notation and Representation (TENOR) 2017, 171-181, A Coru?a, Spain, UCD Press.

• Vickery, L., James, S., (2017), The Enduring Temporal Mystery of Ornette Coleman’s Lonely Woman. Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, 49-63, Perth, Western Australia, Western Australian Chapter of the Musicological Society of Australia, in conjunction with the Western Australian Academy of Performing Arts, Edith Cowan University.

• Hope, C., James, S., Wyatt, A. (2016). Headline grabs for music: The development of an iPad score generator. Proceedings of the 16th International Conference on New Interfaces for Musical Expression, 375-376.

• James, S. (2016). A multi-point 2D interface: Audio-rate signals for controlling complex multi-parametric sound synthesis. Proceedings of the 16th International Conference on New Interfaces for Musical Expression, 401-406.

Non-Traditional Research Outputs• Vickery, L., Hope, C., James, S., Wyatt, A., (2016), Decibel: Deutscher

Akademischer Austauschdienst/Universities Australia Exchange with Hochschule fur Musik und Theatre. Decibel DAAD/Universities Australia Exchange with HfMT (Hamburg), Hochschule fur Musik und Theatre, Decibel.

• Hope, C., James, S. (2015). Feather. In Akousmatikoi Concert, Totally Huge New Music Festival. Western Australian Museum, Perth.


Research Interests: • Music composition• Music analysis• Sound Synthesis (particularly

Spectral Synthesis and Wave Terrain Synthesis)

• Spatial Audio• Audio Engineering

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Professor Geoffrey Lancaster AMPhD, MMus, BAGeoffrey Lancaster has been at the forefront of the historically-informed performance practice movement for 40 years. He was the first Australian to win a major international keyboard competition, receiving first prize in the 23rd Festival van Vlaanderen International Fortepiano Competition, Brugge.

He has been artistic director with Ensemble of the Classic Era, a member of the Council of the Australian Youth Orchestra, director of the Tasmanian Symphony Chamber Players, and chief conductor and artistic director of La Cetra Barockorchester Basel.

Lancaster has appeared with all of Australia’s major orchestras (including the Australian Chamber Orchestra), and has appeared as a soloist with the Gürzenich Orchestra Köln, Leipzig Gewandhaus, Düsseldorfer Symphoniker, Dortmund Philharmonic, Indianapolis Symphony, Ensemble 415 of Geneva, Tafelmusik Baroque Orchestra, Hong Kong Sinfonietta, New Zealand Symphony, Rotterdam Philharmonic, Royal Stockholm Philharmonic, and Concerto Copenhagen. He has featured in the Sydney, Shanghai, and Mostly Mozart festivals, as well as the Australian Festival of Chamber Music, among many others.

His more than 50 CDs for Tall Poppies, ABC Classics, Sony Classical, and Supraphon have won such awards as the Gramophone Best Recording, ARIA Best Classical Album, Sounds Australian Award, and Soundscapes Editor’s Choice.

A master teacher of keyboard and historical performance practice, he has taught at the Schola Cantorum Basiliensis, Royal Conservatory of The Hague, Royal College of Music, Royal Academy of Music, Mozarteum, Hong Kong Academy for Performing Arts, and the Royal Northern College of Music. Former Curator of Musical Instruments at the Powerhouse Museum, he was an Australian Artists Creative Fellow from 1992-1996. He was awarded the HC Coombs Creative Arts Fellowship by The Australian National University and joined the ANU School of Music faculty in 2000, where he was head of Keyboard until 2010 and served on ANU’s academic board. He received ANU top supervisor awards in 2009 and 2012.

He is an honorary fellow of the Australian Academy of the Humanities, and a fellow of the Australian College of Educators. He was ACT Australian of the Year in 2006, is an honorary ambassador for Canberra, and received the Order of Australia for services to the arts.

Selected PublicationsBooks:• Lancaster, G., (2017), Culliford, Rolfe and Barrow: A Tale of Nine Pianos.,

224, Perth, Western Australia, UWA Publishing.• Lancaster, G., (2015), The first fleet piano : A musician’s view., 880, 551,

Canberra, A.C.T. , ANU E Press.

Non-Traditional Research Outputs• Lancaster, G., (2016), Re-envisioning the Haydn English Keyboard Sonatas.

Complete Haydn Keyboard Sonatas, Volume 4, Wesley Music Centre Hall, Canberra, A.C.T., Belinda Webster.


Research Interests: • Music performance• Performing arts and creative

writing• Curatorial and related studies• Curriculum and pedagogy• Historically-informed 17th,

18th and early 19th century performance practice

• The First Fleet piano• The keyboard sonatas of Joseph

Haydn

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Associate Professor Andrew Lewis SmithAssociate Dean PerformanceMAAndrew has extensive experience in directing film, television, and theatre. He has directed numerous stage plays and short films including the award-winning AFC-funded short film, Calling Gerry Molloy. In television he has directed episodes of the series Castaway, Sleepover Club, Streetsmartz, Parallax, Something in the Air, Home and Away, Ocean Star, Snobs, Going Home, Breakers and Pacific Drive. He has also produced, directed and written documentary and magazine programs for the ABC. Andrew is a directing graduate of the Western Australian Academy of Performing Arts (WAAPA) and holds two Masters degrees – one in Film and TV Directing from The Australian Film, Television and Radio School (AFTRS) and the other in Film and Theatre Studies from the University of New South Wales. Andrew is currently the Associate Dean of Performance at The Western Australian Academy of Performing Arts, responsible for the acting, music theatre, performing arts, dance and Aboriginal theatre aourses. He is also associate director of the WA Screen Academy. At the 2007 Western Australian Screen Awards Andrew won an award for outstanding achievement in drama directing for his work on the series, Sleepover Club. Andrew is also a recipient of an ALTC award for excellence in teaching.

Andrew facilitates post-graduate courses in theatre directing and screen production for writers, producers, directors, cinematographers, and editors. This produces a massive amount of television and film product annually; including short films, documentaries, lifestyle shows, and multi-cam drama. Andrew is executive producer on 12 Screen Academy films produced annually.

Andrew plays a key leadership role over the performance departments. He oversees the entire production program for the year and makes the final decisions on all screenplays as well as theatre plays and musical productions. He is directly responsible for the selection and execution of over 25 mounted productions, which range from large 400 seat theatres to small studio venues.

Andrew is currently doing his PhD and researching the area of self- devised work in actor training.

Selected PublicationsNon-Traditional Research Outputs• Barbe, F., Smith, A., (2015), Tender Napalm (co-director). In 8th Asia-

Pacific Bureau Theatre Schools and Director’s Conference, Singapore Airline Theatre.

• Smith, A. (2013). The golden age - director. The Roundhouse Theatre, Perth.

• Smith, A. (2013). Reefer madness - director. The Roundhouse Theatre, Perth.

• Smith, A. (2012). Clinchfield - director. The Roundhouse Theatre, Perth. • Smith, A. (2013). Love and mischief - executive producer. The Academy

Films, Luna Cinema Subiaco.

Recent Research Grants• An Innovative Research Collaboration between ECU/WAAPA and Onward

Production through an exploration of a ‘Whole-Theatre’ Production of Clinchfield, Edith Cowan University, ECU Industry Collaboration - Grant, 2011 - 2014, $40,000.


Research Interests: • Theatre• Film• Directing• Acting• A/r/tography as practice-led

research

15

Dr Reneé NewmanPhD, BA (Hons)Renée Newman is an experienced research supervisor and lecturer at WAAPA with a cohort of MA and PhD candidates in theatre, film, dance and music. She is an active creative researcher as performer, writer, and director for theatre. In 2014 and 2015 she co-produced and performed in the award winning Those that fall in love like anchors dropped upon the ocean floor, which toured to Griffin Theatre in Sydney in July 2016. In May 2014 she completed the ECU Early Career Researcher grant ‘Transformative Articulations: Imaginative Engagements with Creative Researchers’ in the academy which saw her investigate the co-author/co-creator model for writing about creative research. In 2014 she was involved as an artist and co-curator on the research/exhibition project ‘In Conversation: Cross-disciplinary/cross-art form collaboration’, a co-investigator in the internal research grant ‘Beyond Thesis and Exegesis: Capturing creative practice to improve supervision of creative arts higher degree candidates’.

Selected PublicationsJournal Articles• Adams, L., Kueh, C., Newman, R., Ryan, J., (2015), This is Not an Article:

a reflection on Creative Research Dialogues (This is Not a Seminar). Educational Philosophy and Theory, 47(12), 1330-1347, London, DOI: 10.1080/00131857.2015.1035630.

• Newman, R. (2014). Leadership in sustainability: Creating an interface between creativity and leadership theory in dealing with ‘wicked problems.’ In Sustainability, 6(9), 5955-5967. DOI: 10.3390/su6095955.

• Newman, R., Reynolds, R. (2013). Conversations over the gap. In Performance Research: A Journal of the Performing Arts, 18(3), 47-53. DOI: 10.1080/13528165.2013.818313.

Published Conference Proceedings• Adams, L., Newman, R., (2017), Capturing creative research in the

academy. HERDSA Research and Development in Higher Education: Curriculum Transformation, 40(27-30 June 2017), 1 - 11, Sydney, Australia, Higher Education Research and Development Society of Australasia, Inc.

• Adams, L., Newman, R. (2016). Collisions, co-opting and collaboration: Reflections on the workings of an interdisciplinary collaborative project. In InConversation, ACUADS Conference 2015: Art and Design Education in the Global 24/7, 12.

• Adams, L., Newman, R., Ferguson, N., Kueh, C. (2015). Messy never-endings: Curating InConversation as interdisciplinary collaborative dialogue. In Australian Council of University Art and Design Schools Conference 2014: The Future of the Discipline.

• Adams, L., Kueh, C., Newman, R., Ferguson, N. (2015). Capturing creative practice. In Australian Council of University Art and Design Schools Conference 2014: The Future of the Discipline.

Non-Traditional Research Outputs• Newman, R., Sinclair, I., (2016), Sleeping Beauty. Sleeping Beauty, The Blue

Room Theatre,Perth Institute for Contemporary Art, Renee Newman and Ian Sinclair.

• Adams, L., Newman, R., Kueh, C. (2014). Curating the conversation: messy never endings. In InConversation. Spectrum Project Space, Edith Cowan University, Perth.


Research Interests: • Pedagogies of creative research• The making and theorisation of

contemporary performance

16

Jamie OehlersAssocDegRecognised as one of Australia’s leading jazz musicians, Jamie Oehlers was the winner of the World Saxophone Competition at the Montreux Jazz Festival in Switzerland in 2003, judged by Charles Lloyd, Bruce Lundvall (Blue Note Records) and Jean Toussaint amongst others. He has won numerous awards in Australia, including Australian Jazz Awards for best Australian jazz artist and best contemporary jazz album, a James Morrison Scholarship, a Western Australian Music Industry Award for international achievement, has been nominated for a Mo Award for Best Jazz Instrumentalist, Australian Young Achiever of the Year Award, and has twice been a finalist in the Australian Recording Industry Awards for best jazz album.

Jamie graduated from WAAPA and furthered his studies at the Berklee College of Music, Boston. He has also studied under some of the world s finest jazz musicians in New York City, as well as Australian jazz icons.

Jamie has been a tutor at the Victorian College of the Arts and Monash University in Melbourne, and has held saxophone and improvisation workshops throughout Australia, New Zealand, Asia, and the UK. In 2008 he became Coordinator of Jazz Studies at WAAPA in Perth.

Selected PublicationsNon-Traditional Research Outputs• Oehlers, J., Cohen, T., Mitchell, H., Guilfoyle, R., Williamson, P., (2016),

Intervallic cell displacement in improvised solos. Soul Train, Spectrum Now Festival, Wangaratta Jazz and Blues festival, PIJF, MIJF, Bennetts Lane, Foundry616, WPAC Theatre, PCC, Uptown Jazz Cafe.

• Oehlers, J., Grabowsky, P., Harland, E., Rogers, R. (2015). Chromatic melody application within improvisation. Systems Two Recording Studios, Brooklyn, NY, USA.

• Oehlers, J., Vanderwal, B., Magnusson, S. (2014). Paper tiger CD release tour. Paper Tiger, NIMA (Newcastle), 505 (Sydney), Smiths (Canberra), Uptown Jazz Club (Melbourne).

• Tarr, C., Jeavons, P., Oehlers, J., Blanchard, T. (2014). Tal Cohen Quartet live at the Perth International Jazz Festival. In The Perth International Jazz Festival. Forrest Chase, Perth.

• Oehlers, J., O’Halloran, T., Susnjar, D., Bernstein, P. (2014). Peter Bernstein with Jamie Oehlers Trio. In Peter Bernstein with Jamie Oehler’s Trio at the Perth International Jazz Festival. Cultural Centre, Perth.

• Oehlers, J., Bradley, R., Story, M., Derrick, R., Dyne, P., Donlon, M., Holland, O., Gibson, F., Field, K. (2014). New Zealand collaborations tour. CJC (Auckland), NZSM Concert Hall (Wellington), The Darkroom (Christchurch).

• Vinson, W., Oehlers, J., O’Halloran, T., Boneham, A., Vanderwal, B. (2014). Will Vinson/Jamie Oehlers Quartet at the Ellington. In Will Vinson Live at the Ellington. The Ellington Jazz Club, Perth.

• Tarr, C., Oehlers, J., Vanderwal, B. (2014). Los cabrones at the Perth International Jazz Festival. In The Perth International Jazz Festival. Urban Orchard, Perth Cultural Centre.

• Oehlers, J., O’Halloran, T., Susnjar, D. (2014). Jamie Oehlers Trio - Beaufort Street Festival and PJS at the Laneway. In Beaufort Street Festival 2014 and PJS at the Laneway. The City of Stirling Stage, Perth and The Laneway, Perth.


Research Interests: • Jazz composition• Jazz performance• Jazz improvisation• Practice-led (artistic) research

17

Tom O’HalloranMMus, BMusTom O’Halloran leads the Jazz Piano department at the Western Australian Academy of Performing Arts (WAAPA) at Edith Cowan University, and currently holds a Master of Music in classical composition from the Sydney Conservatorium of Music and a Bachelor of Jazz (performance) from WAAPA. He is a regularly-commissioned composer and lectures in jazz composition, as well as improvisation, ensemble studies, and piano workshop.

He has most recently performed a two piano duo concert with Graham Wood - complete with two Fazioli grand pianos - for which he was commissioned to compose. The resulting piece was Dissolve, for two pianos, which further explored interruption and chromatic saturation synthesised with jazz interaction and improvisation.

Selected PublicationsNon-Traditional Research Outputs• O’Halloran, T., (2016), Strategies for increased polyphony in jazz piano

accompaniment., Perth International Jazz Festival.• O’Halloran, T. (2014). Cinch, knotty, morph, plot branching; Someone

remembered; and Two faced. In Memory of Elements - Major Body of Compositions 2014. The Ellington Jazz Club, Perth.

• O’Halloran, T. (2014). Drumkit (for 6 pianos); Infinite ivories. Music Auditorium, WAAPA, Perth.

• O’Halloran, T. (2013). Improvised pieces, solo performance. The Jazz Studio, WAAPA, Perth.

• O’Halloran, T., Rammers, S. (2013). Night cap session with Shaun Rammers and Tom O’Halloran. The Ellington Jazz Club, Perth.

• O’Halloran, T. (2013). Flying lesson (score). In Horizon Art Orchestra, Flying Lesson. The Ellington Jazz Club, Perth.

• O’Halloran, T. (2013). Going solo piano series. The Sound Lounge, Chippendale, Sydney.

• O’Halloran, T., Zwartz, J., Mannell, E. (2015). Soundgun. In 2015 Perth International Jazz Festival. Northbridge Piazza, Perth.

• O’Halloran, T., Davies, K., McGlynn, M., Stewart, B., Grafton, Z., Harrison, D. (2014). WAAPA Jazz Ensemble - Melbourne International Jazz Festival 2014. In Free Jazz at Fed Square (Melbourne International Jazz Festival). Federation Square, Melbourne.

• Vanderwal, B., O’Halloran, T., Tarr, C., Florisson, K., Mendes, M., Rojas, G. (2014). Quinteto Sao Paulo featuring Giorgio Rojas. Ellington Jazz Club, Perth.

• Berstein, P., O’Halloran, T., Susnjar, D., Abbey, N. (2014). Peter Berstein at the Perth International Jazz Festival. In 2014 Perth International Jazz Festival. The Ellington Jazz Club, Perth.

• O’Halloran, T., Roberts, T., Alderson, D., Fisenden, A. (2014). Void@PIJF. In 2014 Perth International Jazz Festival. The Ellington Jazz Club, Perth.

• O’Halloran, T., Alderson, D., Susnjar, D. (2014). Tom O’Halloran Trio at the 2014 Perth International Jazz Festival. In Perth International Jazz Festival 2014. Urban Orchard, Perth.

• O’Halloran, T., Zwartz, J., Mannell, E., Harrod, T. (2014). Soundgun album launch at Venue 505. Venue 505, Sydney.

• Arena, T., O’Halloran, T. (2014). Merci down under. In Merci Down Under - WW1 Centenary. Governor’s House Ballroom, Perth.


Research Interests: • Hybridity within jazz works• Multi-disciplined approaches• Technology and moving image

within jazz• Integrating bitonality within jazz

improvisation and composition

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Dr Helen RusakPhD, MA, BA (Hons)Helen is a senior lecturer and course coordinator for arts management at the Western Australian Academy of Performing Arts. Dr Rusak studied musicology and arts management in Adelaide. She has worked as a music teacher, academic, and concerts/festivals manager. Prior to working at ECU she was acting program director for the department of Arts and Cultural Management, UniSA. Her school was awarded a national education award in events training for her student industry placement project developing the inaugural National Indigenous Arts Festival. She has served on the school’s research committee as research seminar co-ordinator. She has also won funding for her research on the effects of YouTube and social networking on the music industry. She has presented at conferences and published on the arts, music, and new media. She has broad experience in arts management practice and has held senior government advisory roles.

Selected PublicationsBook Chapters• Rusak, H., McKenzie, S. (2013). YouTube as nascent practice: A

MacIntyrean analysis of user-generated content. In H. Harris, S. McKenzie, and G. Wijesinghe (Eds.), The heart of the good institution: Virtual ethics as a framework for responsible management (pp. 111-126). Springer, Netherlands: Springer. DOI: 10.1007/978-94-007-5473- 7_9.

Journal Articles• Rusak, H. (2016). Corporate entrepreneurship in the arts in Western

Australia. In The Journal of Arts Management, Law and Society, 46(4), 153-163. DOI: 10.1080/10632921.2016.1211049.

• Rusak, H. (2014). Mr barbecue by Elena Kats-Chernin: The raw and the cooked. In Journal of Music Research Online, 5(2), 1-24, www.mca.org.au.

Published Conference Publications• Rusak, H. (2014). The charisma of tango in Australia. The Charisma of

Dissonance: Proceedings from the 37th National MSA Conference, 105.

Recent Research Grants• Audiences for artmusic and sound art in Western Australia: Understanding

and evaluating Tura New Music programs. Tura New Music Ltd, Scholarships to Support Industry Engagement PhD Projects, 2016 - 2020, $35,000.

• Curating the Performing Arts: Improvisation as a mechanism to engage diverse and local communities in arts programs., Perth Institute of Contemporary Arts Ltd, Scholarships to Support Industry Engagement PhD Projects, 2017 - 2020, $58,000.

• Measuring the Value of Cultural Activity in Regional Western Australia, Edith Cowan University, ECU Industry Collaboration Grant - 2016 (Round 1), 2016 - 2017, $61,500.


Research Interests: • Cultural theory• Arts management• Musicology (feminist, historical,

Australian)

19

Associate Professor Stewart SmithAssociate Dean MusicMMusStewart Smith is the Associate Dean, Music, at WAAPA. Hestudied at the Royal Academy of Music and London University and today is recognized as one of Australia’s preeminent organists and harpsichordists. In recent years he has performed with the Hilliard Ensemble, I Fagiolini, The Orchestra of the Antipodies, Pinchgut Opera, Ensemble Arcangelo, Ensemble Batistin, the West Australian Symphony Orchestra, the Tasmanian Symphony Orchestra, the Sydney Symphony Orchestra, Festival Baroque, the Australian Haydn Ensemble and Brisbane Baroque. His research has been supported through a large- scale grant from the ARC, and his many recordings (CD and DVD) have been distributed internationally (ABC Classics, Universal Music). He has supervised over thirty dissertations, given papers at national and international conferences and has published in the areas of pedagogy and historical improvisation.

Selected PublicationsPublished Conference Proceedings• Smith, S., (2017), From Matrix to Model: Conceptualising Improvised

Counterpoint at the Organ. Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, 73-82, Perth, Australia, Western Australian Chapter of the Musicological Society of Australia.

• Paget, J., Smith, S., (2013), Keys from the past: Unlocking the power of eighteenth-century contrapuntal pedagogies. In Re-Visions: Proceedings of the New Zealand Musicological Society and the Musicological Society of Australia Joint Conference, 1(2-4 December 2010), 18-30, Dunedin, New Zealand.

Non-Traditional Research Outputs• Smith, S., (2017), Saint-Saens Organ Symphony with the West Australian

Symphony Orchestra. Saint-Saens Organ Symphony with the West Australian Symphony Orchestra, Perth Concert Hall, WASO & ABC FM.

• Smith, S. (2015). Vivaldi concerti - Perth Chamber Orchestra. In Vivaldi By Candlelight. St Georges Cathedral Perth.

• Paget, J., Smith, S. (2015). Rediscovering bel canto gems for piano and guitar. In Grove Classics 2015: A Viennese Bouquet. The Grove Library Building, Peppermint Grove.

• Smith, S. (2015). Performing and creating a new version of Faure’s Requiem. In Simone Young Conducts Faure’s Requiem. Perth Concert Hall.

• Smith, S. (2014). Keyboard concertos of the Bach family. In St Paul’s Chamber Series Concert 2: Harpsichord Spectacular. St Paul’s Chapel, Mirrabooka, Perth.

• Smith, S. (2014). Mad about Coward. In Mad About Coward with Stuart Maunder. The Ellington Jazz Club, Perth.

• Smith, S. (2014), A baroque feast. Music Auditorium, WAAPA, Perth. • Smith, S. (2014). Organ transcription. In The Music Makers. St Mary’s

Cathedral, Perth. • Smith, S. (2014). Bach and Haydn with the Tasmanian Symphony

Orchestra. In Saturday Evening Concert with Julian Day. Albert Hall, Launceston.

• Smith, S. (2014). Chamber music with The Australian Haydn Ensemble. In 2014 ANU School of Music Ensemble in Residence. Llewellyn Hall, Australian National University, Canberra.


Research Interests: • Bach reception• Performance practice• Music printing and publishing• French and Italian Baroque

music

20

Dr Matthew StylesDMusArts, BMus (Hons)Dr Matt Styles has built a local and international career as a classical, jazz and ‘cross-over’ saxophonist, performing and teaching in the UK, Europe, Asia, and Australia. With more than 25 years teaching at primary, secondary, and tertiary levels, Matt specializes in the interpretation, pedagogy, and performance of classical, jazz, and multi-genre or ‘cross-over’ works. Matt is utilised as the principal saxophonist for The Western Australian Symphony Orchestra, the Singapore Symphony Orchestra, the Tasmanian Symphony Orchestra, and the Malaysian Philharmonic Orchestra.

In 2004 Matt received a Churchill Fellowship focusing on jazz and classical pedagogical and performance studies with Dr Otis Murphy, Dr Tom Walsh, and Dr Eugene Rousseau. Currently, Matt coordinates the classical and cross-genre saxophone area, leads 4th year contemporary ensembles (popular music, RnB, soul, and fusion), teaches contemporary music research, is head of the Bachelor of Music (Honours) program, and supervises honours, masters and doctoral students.

Selected PublicationsJournal Articles• Trezona, J., Styles, M. (2015). Converging paths: Classical articulation

study and the jazz saxophonist. Jazz Perspectives, 8(3), 259-280. DOI: 10.1080/17494060.2015.1089580.

Non-Traditional Research Outputs• Styles, M., (2016), Nemesis. Pipe Organ Plus: Nemesis, St Patrick’s Basilica,

Fremantle , Pipe Organ Plus.• Styles, M., (2016), Adaptation of Symphonic Orchestral Performance

Practices for the saxophone. Various events with the Malaysian Philharmonic Orchestra, Dewan Filharmonik, Malaysia, Malaysian Philharmonic Orchestra.

• Styles, M. (2014). Jinga, saxophone ensemble score. In 13th Royal Northern College of Music Saxophone Day. Royal Northern College of Music Concert Hall, Manchester.

• Styles, M. (2015), Mix’t trio - Cappuccino Concerts. In Mix’t: Cappuccino Concerts: Home by 11. Peppermint Grove Library, Perth.

• Styles, M. (2015). WASO: Ravel’s Bolero - saxophone. In Classics 8: Bolero. Perth Concert Hall.

• Styles, M. (2014). Rachmaninov Symphonic dances. In Morning Symphony 5 - Classics 7. Perth Concert Hall.

• Styles, M. (2014). Escapades. In Trick or Treat. Music Auditorium, WAAPA, Perth.

• Styles, M. (2014). Bernstein and Gershwin: WASO Classics 2. In Classics 2: Bernstein and Gershwin. Perth Concert Hall.

• Styles, M. (2014). Fearful symmetries, hidden love song. In Latitude New Music Festival. Astor Theatre, Perth.

• Styles, M. (2014). Principal saxophonist for WASO’s Romeo and Juliet. In Romeo and Juliet. Perth Concert Hall.

• Styles, M. (2014). Pixar in concert with the Malaysian Philharmonic Orchestra. In Disney’s Pixar in Concert. Dewan Filharmonik, Kuala Lumpur, Malaysia.

• Styles, M., Pinto, A., Tanner, P. (2014). Mix’t trio recital. In Classical Tuesdays. Music Auditorium, WAAPA, Perth.


Research Interests: • Cross-genre saxophone

pedagogy• Performance and interpretation

techniques• Third Stream Music

categorisation• Saxophone injury rehabilitation

and prevention

21

Dr Lindsay VickeryPhD, MMusComposer, performer, and researcher Lindsay Vickery is active across Europe, the USA, and Asia. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised, or fully notated settings, ranging from solo pieces to opera. He has been commissioned by numerous groups for concert, dance, and theatre. Lindsay is a highly regarded performer on reed instruments and electronics, touring as a soloist and with ensembles in festivals including Myrkir Músiíkdagar, Audio Art, ISEA, SWR Tage für Neue Musik, MATA, NWEAMO, and WHATISMUSIC? and the Shanghai, Sydney, Adelaide, and Perth International Arts Festivals. He was a founding member of numerous Australian new music groups, most recently HEDKIKR (2002), Candied Limbs, and Decibel (2009). Much of his recent work includes ‘screenscores’ generated by field recordings or as autonomous artworks. His research interests include music ‘screenscores’, nonlinear music, and music analysis and culture.

Selected PublicationsJournal Articles• Vickery, L., Devenish, L., James, S., Hope, C., (2017), Expanded Percussion

Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery. Contemporary Music Review, 36(1-2), 15-35, Oxon, United Kingdom, Routledge, DOI: 10.1080/07494467.2017.1371879.

• Vickery, L. (2014). The limitations of representing sound and notation on screen. In Organised Sound, 19(3), 215-227. DOI: 10.1017/S1355771814000193.

Published Conference Proceedings• Vickery, L., James, S. (2016). Tectonic: a networked, generative and

interactive, conducting environment for iPad. In Proceedings of the 42nd International Computer Music Conference (pp. 542-547).

• Vickery, L. (2016). The role of ring modulation in the formal structure of Roger Smalley’s monody for piano with live electronic modulation. In Sound Scripts 5, 97-107.

Non-Traditional Research Outputs• Vickery, L., (2016), Works exploring Eco-Structuralism. Works exploring

Eco-Structuralism, Griffith University, NIME.• Vickery, L., Hope, C., James, S., Wyatt, A., (2016), Decibel: Deutscher

Akademischer Austauschdienst/Universities Australia Exchange with Hochschule fur Musik und Theatre. Decibel DAAD/Universities Australia Exchange with HfMT (Hamburg), Hochschule fur Musik und Theatre, Decibel.

• Vickery, L., (2016), Works exploring spectral analysis as a compositional tool. Works exploring spectral analysis as a compositional tool, WAAPA, HfMT Hamburg, Tokyo Wondersite,

• Vickery, L., (2015), trash vortex. Spectral Manipulation, California Institute of the Arts.

• Vickery, L., (2015), residual drift. Silent Revolution, The Firehouse Space, Brooklyn New York.

Recent Research Grants• Curating the Performing Arts: Improvisation as a mechanism to engage

diverse and local communities in arts programs., Perth Institute of Contemporary Arts Ltd, Scholarships to Support Industry Engagement PhD Projects, 2017 - 2020, $29,000.


Research Interests: • Generative scores• Extended music notation• Interactive music• Nonlinear formal structures• New media• Screenscores• Polytemporal music• Alternate controllers• Music analysis• Music culture

22

Tim WhiteMMus, BMusTim White is a senior lecturer in percussion at the Western Australian Academy of Performing Arts and musical director of the Defying Gravity percussion ensemble. For many years he was principal percussionist with the West Australian Symphony Orchestra. Tim is now the head of classical music, and coordinates all of WAAPA’s classical ensembles, including the Faith Court Orchestra and the Indian Ocean Ensemble. He is also active as a postgraduate supervisor.

Selected PublicationsNon-Traditional Research Outputs• White, T., (2016), Drums are the New Violins: New works and innovative

techniques with Defying Gravity. Defying Gravity: Karma and Latin Carnivale, Fremantle Arts Centre and WAAPA, Edith Cowan University, Fremantle Arts Centre and Edith Cowan University.

• White, T., (2016), Sound Disintegration: new works at the 2016 Australian Percussion Gathering. Reverberations, Concert 7, Queensland Conservatorium Research Centre, Queensland Conservatorium Griffith University.

• White, T., Wickham, D. (2014). Petrushka, Concerto in G, and O Fortuna re-imagined and re-invented for percussion. In Petrushka and Classical Tuesdays. Music Auditorium, WAAPA, Perth.

• White, T. (2014). Three faces of contemporary percussion: WAAPA Direct. In WAAPA Direct. Fremantle Arts Centre, Perth.

• White, T., Everall, P. (2014). Inventing a new world: New music for percussion and clarinet. In Classical Tuesdays: WAAPA Virtuosi I. Music Auditorium, WAAPA, Perth.

• White, T. (2014). Multi-percussion innovation in Igor Stravinsky’s The soldier’s tale. In Igor Stravinsky’s A Soldier’ Tale. Music Auditorium, WAAPA, Perth.

• White, T. (2014). Defying Gravity’s `Fascinating rhythms:’ Creating new performance paradigms. In Fascinating Rhythms. Music Auditorium, WAAPA, Perth.

• White, T. (2014). The fire and the rose: Baroque and classical timpani performance. In Canberra International Music Festival. Albert Hall, Canberra.

• White, T. (2014). Defying Gravity: `Fiesta:’ Establishing new directions in percussion. In Fiesta!, Music Auditorium, WAAPA, Perth.

• White, T. (2013). Carmina burana and Rio grande. In Orff’s Carmina Burana. St Georges Cathedral, Perth.

• White, T. (2013). Handel’s Messiah. In Handel’s Messiah. Perth Concert Hall.

• White, T. (2013). Mozart’s mass in c minor & requiem. In Mozart’s Mass in C Minor & Requiem. Perth Concert Hall.

• White, T. (2013). The antihero suite, living toys and Frankenstein. In Perth International Arts Festival: Soft Soft Loud. Fremantle Arts Centre, Fremantle.

• Wickham, D., White, T. (2013). An American in Paris and rhapsody in blue. In The World of George Gershwin. Music Auditorium, WAAPA, Perth.

• White, T. (2013). Inuksuit by John Luther Adams - Defying Gravity. In WAAPA in the Park. Ron Stone Park, Mount Lawley, Perth.

• White, T. (2013). Defying Gravity: `drumming up a storm.’ In Drumming Up A Storm. Music Auditorium, WAAPA, Perth.


Research Interests: • Percussion• Orchestral music• Art of performance• Performance psychology

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In Memoriam

Associate Professor Graham WoodOn Wednesday 19 July 2017, WAAPA lost a most admired and respected colleague, friend, teacher and mentor when Associate Dean Associate Professor Graham Wood PhD passed peacefully surrounded by his family and loved ones. Dr Graham Wood was a musician, educator, entrepreneur, and researcher. His history with WAAPA stretches back 27 years from his time as an undergraduate student through to his appointment as Associate Dean, Teaching and Learning in 2016. As a professional pianist, arranger and composer he toured extensively nationally and internationally and worked with many renowned international artists including Frank Foster, Sam Rivers, Ernie Watts, Sheila Jordan, Dave O’Higgins, Cindy Blackman, Dave Weckl, Claire Martin, Reggie Workman, Ingred Jensen, Mark Murphy, Greg Osby, Bob Sheppard, Carmen Lundy, Chris McNulty, Paul Bollenback, George Garzone, Mike Moreno, Gretchen Parlarto, Howard Levy, Jon Gordon and Fred Wesley. As an entrepreneur he started the Perth International Jazz Festival and the successful Ellington Jazz Club. Graham was a great advocate for music education and made a significant research contribution with his PhD research: Prevalence, factors and effects of Performance Related Medical Disorders (PRMD) among tertiary-trained jazz pianists in

Australia and the United States. His work was published internationally in the Performing Arts Medical Association (PAMA) journal and he made regular presentations at the Performing Arts Medical Association annual symposium in Aspen, Colorado. He was also a leading supervisor of Jazz research within WAAPA. Graham’s impact on this institution, its students, staff, patrons and the entire Western Australian music community cannot be understated.

Associate Professor Maggi PhillipsAssociate Professor Maggi Phillips was the coordinator of Research and Creative Practice at the Western Australian Academy of Performing Arts, a position that enabled daily access to the integration of artistic innovation and research. Her life path crossed many disciplines and worldviews, from dancer to a world literature doctorate, circus ring to university boardroom. Together with Cheryl Stock and Kim Vincs, Maggi published Guidelines for best practice in Australian Doctoral and Masters Examination, encompassing the two primary modes of investigation, written and multi-modal theses, the culminating document of an Australian Learning and Teaching Council grant, Dancing between Diversity and Consistency: Refining Assessment in Post Graduate Degrees in Dance. Her publications encompass many aspects of embodied knowledge, its transmission and documentation, clowning, skipping and questioning scholarship and structures whose parameters are impervious to the movement of time. Her final two publications were ‘Choreographies of Thought: Dancing Time back into Writing’ for Doctoral Writing in the Creative and Performing Arts (2014) and posthumously ‘You are no longer creative when you give up: technical theatre’s creative sleight of hand’ in the inaugural edition of Behind the Scenes: Journal of Theatre Production Practice. In addition to her role at WAAPA, Maggi was involved in numerous dance and theatre projects and organisations, including the World Dance Alliance, International Federation of Theatre Research (IFTR) and the Australasian Association for Theatre, Drama and Performance Studies (ADSA) and avid contributor to Realtime and Brolga – an Australian journal about dance. In 2010, Maggi received the Australian Dance Award for Services to Dance Education. In her role as a passionate advocate of practice as research, Maggi was instrumental in developing a dynamic creative research paradigm recognized within the academic sphere and beyond, leading to exponential growth in higher degree research students at WAAPA in recent years. We lost Maggi in 2015 but her words and her passion for artistic innovation and research live on.

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Research Highlights

Biomechanical Analyses of Injury Risks Experienced in Elite Dance TrainingInvestigator: Dr Luke Hopper

This project is conducting a world-class program of clinical biomechanical dance research, representing the first step towards the development of an internationally recognised ECU research program for science and health in the performing arts. Dance is a profession and a passion for millions worldwide. Elite dancers undergo high volumes of intense training in order to reach and maintain a professional level of dancing ability. Musculoskeletal injury in dance is common and limits the cultural depth of the world’s performing arts industry. Injury can prematurely end dance careers and reduce the quality of one of Australia’s most beloved art forms.

Clinical biomechanics has been an integral part of sport medicine for many decades. However, biomechanical investigation of dance injury is limited to a handful of studies. The contribution of biomechanical research to the

area of sports medicine is a testament to the potential of this form of inquiry to contribute to the prevention of dance injuries. The results of the research will provide new insight into dance injury mechanisms.

This internationally unique research environment integrates ECU dance academics and the biomechanical expertise of Dr Hopper with access to the world-class facilities of the Mount Lawley motion capture laboratory. This allows the investigation of advanced research questions that are not possible in almost any other laboratory in the world. Application of the results in performing arts clinics and educational institutions will serve to improve the health and wellbeing of dancers worldwide.

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New Music Research

The Western Australian Academy of Performing Arts is home to an acclaimed team in composition and music technology. Researchers Dr Lindsay Vickery, Dr Stuart James, and Adjunct Professor Cat Hope, amongst others, have produced internationally-acclaimed work in the extension and digital presentation of music notation, sound spatailisation, spectral analysis, and digital archiving. This work includes the creation of an iPad app - the Decibel Scoreplayer - an internationally adopted platform for the synchronised performance of new music. The group also performs internationally as Decibel New Music ensemble, pioneering a performance practice that features the integration of acoustic instruments with digital scores and electronics. Decibel has collaborated with major international composers including Eliane Radigue (France), Simon Emmerson (UK), Werner Dafeldecker (Germany), Agostino Di Scipio (Italy), Alvin Curran (USA), David Toop (UK), Marina Rosenfeld (USA), Lionel Marchetti (France), Andreas Weixler (Austria) and Johannes S. Sistermanns (Germany). They have released four recordings of music by Alvin Lucier and members of the group, and a forthcoming release will feature the group’s acclaimed performance of John Cage’s Variations I-VIII. A burgeoning program of postgraduate study in new music is supported by one of the largest undergraduate composition and music technology programs in Australia, providing a vibrant performance culture within and outside the University. Postgraduate students are regularly assisted in submission and presentation at national and international conferences. In recent times these have included staff co-authoring and performing student work at NIME, the ICMC, the ACMC and other performances in Japan, Germany, the USA, Italy, Czech, Greece, Holland, Slovenia, Slovakia, and Poland.

Index of Researchers & Supervisors

Supervisor Research Area

Dr Lyndall Adams Practice-led research

Dr Frances BarbePerformance, theatre-making

Dr Philip EverallClassical woodwind, new music

Prof Cat Hope (Adj.) New music

Dr Luke HopperMotion capture, arts health, dance

Dr Paul Hopwood (Adj.) Musicology

Dr Stuart JamesNew music, music technology

Prof Geoffrey LancasterEarly music, historical performance practice

A/Prof Andrew Lewis Performance, directing

Dr Jonathan Marshall Performance, theatre

Ms Fiona McAndrew Classical voice

Dr Renee NewmanPerformance, theatre-making

Mr Jamie Oehlers Jazz

Mr Tom O’Halloran Jazz, composition

A/Prof Jonathan PagetEarly music, Australian music, plucked strings

Dr Julie Robson (Adj.) Practice-led research

A/Prof Victoria Rogers (Adj.) Musicology

Dr Helen RusakArts management, musicology

Dr Robin Ryan (Adj.) Eco-musicology

A/Prof Stewart SmithEarly music, historical performance practice

Dr Matt StylesJazz, classical, contemporary, arts health

Dr Lindsay VickeryNew music, music technology

Mr Michael Whaites Dance

Mr Tim WhiteClassical music, percussion

Mr David Wickham Classical voice, keyboard

Dr Min Zhu (Adj.) Dance

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Applying for a Research Degree

Getting ready to apply for a research degree can seem quite daunting so we’ve laid out the following process to assist you. We recommend that you complete your application four to six weeks prior to any deadline. An incomplete application will result in delays, which means you could potentially miss deadlines, so make sure that your application is complete before submitting it.

Check your datesMasters by Research courses and the Integrated PhD have a specific start date and application deadlines. However, applications for the standard PhD are open all year round. Keep in mind that ECU’s Research Scholarships also have opening and closing dates. If you are interested in applying for a scholarship, visit the Scholarships website: ecu.edu.au/scholarships

Know your topicYou will need to prepare a 300-word abstract and a two-page proposal on your topic. Your initial abstract and proposal will tell us about you, including how much you know about ECU, research in your area of study, how passionate you are about your subject, and how familiar you are with the prospective supervisors within the schools.

Prepare your documentsIn addition to your abstract and proposal, you will need to submit the following: • Academic certificate transcripts (secondary and/or

tertiary studies) in both the original language and official certified English translation (if applicable)

• English proficiency test scores• Copy of passport photo page (if applicable)• Résumé/Curriculum vitae (if applicable)• Work reference (if applicable)• Marriage or name change certificate (if applicable)• Copies of your Honours or Masters Thesis, as well as

any publications you have produced

Apply directly to ECU or through an agentVisit the Online Application Portal: apply.ecu.edu.au to apply for your course, including uploading your documents. You can also track the progress of your application here.

Please note that ECU requires certain nationalities to apply via an authorised agent. Visit ecu.edu.au/future-students/applying/find-an-authorised-agent to find an agent near you.

Receive our initial assessmentThe initial assessment will take into account your qualifications, topic, abstract and proposal to ensure it is closly aligned with our areas of research focus, and that we have supervisors in your research area. This can take four to six weeks, depending on academic availability. Please note that during December and January this process may take longer. We will communicate with you via email, so it is important for you to check you email regularly to ensure there are no delays with your application.

Progress your applicationIf your application satisfies all our criteria, it will be progressed for further assessment. At this stage your qualifications will be verified and a research supervisor will be assigned to you. Processing time for the assessment of your application will vary based on academic availability.

Outcome of your applicationYou will be advised of the outcome of your application via email. If you are successful, you will receive an offer to commence your studies at ECU.

Accept your offerYour offer letter will contain specific instructions as to how to accept your offer via our online system.

If you have questions about your application, contact Admissions: [email protected]

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CRICOS IPC 00279B Graduate Research School 04/18

Every effort has been made toensure that the information in this publication is correct at the time of production. The information is subjectto change from time to time andthe University requests the right toadd, vary or discontinue courses and impose limitations on enrolment in any course. The publication constitutes an expression of interest and is not to be taken as a firm offer or understanding. Some information contained in this publication may not be applicable to international students.

Documents

WAAPA Research Institutes, Centres and Supervisors … · He is a regularly-commissioned composer and lectures in jazz composition, as well as improvisation, ensemble studies, and