Listening and remembering: networked off-line improvisation for four commuters

This paper analyses the experience of the networked off-line improvisation 'Listening and Remembering', a performance for four commuters using voices and sounds from the Mexico City and Paris metros. It addresses the question: how can an act of collective remembering, inspired by listening to metro soundscapes, lead to the creation of networked voice- and sound-based narratives about the urban commuting experience? The networked experience is seen here from the structural perspective (telematic setting), the sonic underground context, the ethnographic process that led to the performance, the narratives that are created in the electro-acoustic setting, the shared acoustic environments that those creations suggest, and the technical features and participants' responses that prevent or facilitate interaction. Emphasis is placed on the participants' status as non-performers, and on their familiarity with the sonic environment, as a context that allows the participation of non-musicians in the making of music through telematically shared interfaces, using soundscape and real-time voice. Participants re-enact their routine experience through a dialogical relation- ship with the sounds, the other participants, themselves, and the experience of sharing: a collective memory

Resonances: The sound of performance

It is a hot summer night in August 2013, as the audience gathers near the entrance of the large Gray Hall at the south side of the former coal mine Göttelborn (Germany). The sun has set, and there is only the gray light of dusk in the performance space inside, streaming through the large glass façade, falling onto a small array of stones laid out on the floor. Additional light from a video projector streams over the stones, and a tiny figure of a dancer is seen crawling over rocks, moving in the strange, a-syncopated rhythm of jump cuts. Slowly the sound of rocks scratching against a stone surface begins to be heard, it will remain the only sound for a while, then Japanese instrumentalist Emi Watanabe steps into the empty space with her flute

Some considerations on research dissemination with particular reference to the audience and the authorship of papers.

Original article can be found at : http://www.informaworld.com/This paper suggests that some refinements might need to be considered to current codes of ethics for dissemination of research. The growth of research in music education over the last decade is reviewed, with examples from new journals, conferences and professional associations. It is argued that nowadays researchers have to address a multidisciplinary number of audiences and this should be taken into account in the regulations for conferences and publications with the incorporation of guidelines for contributors to address their specific audience and to explain any previous dissemination. The authorship of papers is also considered, in particular issues arising from multiple authorship, as well as the research participants' contribution to the final report. Some of these issues are discussed with reference to studies focussed on a particular topic (creativity in music education) within the context of music education research, but it is acknowledged that the discussion also applies to other fields of the humanities and social sciences.Peer reviewe

From the beginning: negotiation in community evaluation

This article focuses on negotiation and discusses its relevance for evaluators. Given the impetus for participatory evaluation, evaluators would benefit from improving skills that enable them to make collaborative decisions and work alongside stakeholders, in particular in community evaluations. Negotiation skills are explored through post hoc reflection of a Sure Start programme evaluation in a UK setting. Literature on stakeholder involvement and negotiation is discussed together with the UK evaluation. Recommendations are made on how to utilize elements of negotiation in community programme evaluation. Key skills are highlighted, including attention to: working with emotional situations, face-giving, rapport and creativity, timing, perceptions and improvisation

Annotated bibliography of community music research review, AHRC connected communities programme

This research review, consisting of a 90-entry annotated bibliography, was produced as part of an AHRC Connected Communities programme project entitled Community Music, its History and Current Practice, its Constructions of ‘Community’, Digital Turns and Future Soundings. It supports a 2,500 word report written with this same title for the AHRC

Modes of communication during jazz improvisation

This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances