**About the Authors**

#### **Camlin, David**

Dave Camlin's musical practice spans performance, composition, teaching, socially engaged music practice, and research. A singer/songwriter by trade, his musical practice is motivated by the idea of music making as a creative resource for fostering kinship and living more sustainably, as a potent form of civic imagination. He lectures in music education at the Royal College of Music and Trinity-Laban Conservatoire and was Head of Higher Education and Research at Sage Gateshead from 2010 to 2019. His research explores the relationship between aesthetic and participatory traditions of music making and highlights how the implicit tensions within these contrasting perspectives can be resolved through a foregrounding of their "paramusical" benefits and effects. His research focuses on group singing, music health and wellbeing, musician education, music and virtuality, and Community Music (CM). He has pioneered the use of Sensemaker® "distributed ethnography" as a method for research into cultural phenomena and has won the National Trust's Outstanding Achievement Award in 2019 for an AHRC / Arts Council England–funded mountaintop singing project, The Fellowship of Hill and Wind and Sunshine, and was co-chair of the Special Interest Group (SIG) in singing and mental health for the March Network.

#### **Davidson, Jane W.**

Jane W. Davidson is Professor of Creative and Performing Arts at the Faculty of Fine Arts and Music and Chair of the Creativity and Wellbeing Hallmark Initiative, University of Melbourne. Her scholarship has contributed to the study of musical skill, music as social interaction, arts for wellbeing outcomes, music and emotion, and opera performance. She has published extensively and has been a recipient of research grants in Australia and internationally. She is also an opera director, currently coordinating the MMus in Opera Performance. Previous roles at the University of Melbourne include Acting Director of the Victorian College of the Arts, Head of Performing Arts, Associate Dean Research, and Associate Dean Engagement. She has also been Deputy Director of the Australian Research Council's Centre of Excellence for the History of Emotions, President of the Australian Music & Psychology Society, Vice-President of the European Society for the Cognitive Sciences of Music and Editor of the academic journal Psychology of Music. She is a Fellow of the Australian Academy of the Humanities.

#### **Haddon, Elizabeth**

Elizabeth Haddon SFHEA, LRSM, is a Senior Lecturer at the University of York, where she devised and leads the MA in Music Education: Instrumental and Vocal Teaching. Her research focuses on instrumental pedagogy, creativity, and musical performance, particularly in higher music education, and her output includes *Making Music in Britain: Interviews with those behind the notes* (Ashgate 2006), as well as two co-edited books with Pamela Burnard: Activating Diverse Musical Creativities: *Teaching and Learning in Higher Music Education* (Bloomsbury, 2015) and *Creative Teaching for Creative Learning in Higher Music Education* (Routledge, 2016). Her published research also includes the exploration of empathy and partnership in piano duet playing and performance with Mark Hutchinson, mental health in the higher music education context, and investigating pedagogical approaches across cultures.

#### **Heyde, Neil**

Neil Heyde is the cellist of the Kreutzer Quartet and Professor of Music and Head of Postgraduate Programmes at the Royal Academy of Music. As a soloist and chamber musician, he has appeared throughout Europe and in China, the USA, and Australia, broadcasting on the major radio networks and recording more than 40 discs, many in collaboration with composers. This experience is central to his research, which focuses on exploring the ways in which musicians communicate with one another and relationships between performers and composers, past and present. He has published on collaborative relationships, instrumental choreography, and issues in interpretation. He is editing Debussy's three late sonatas for the *Œuvres completes de Claude Debussy* and is working on a series of interconnected projects that explore some of the ways in which instruments are "not just tools". He is completing a solo project with composer Richard Beaudoin on a series of six pieces, each a form of transcription of an iconic recording: Argerich playing Chopin, Casals playing Bach, Debussy playing Debussy, Gould playing Schoenberg, Monk improvising on Johnny Green, and Maggie Teyte and Alfred Cortot performing Debussy. His teaching draws extensively on recordings as a means for discovering the richness of musical relationships.

#### **Hunter, Mary**

Mary Hunter is A. Leroy Greason Professor of Music Emerita at Bowdoin College in Maine, USA, where she taught music history, music theory, and courses on Middle Eastern music, music and gender, and music in everyday life. She has written books and articles on 18th-century opera, 18th- and early 19th-century chamber music, and on the ways the ideologies of classical music play into the experiences and language of performers. She is an active amateur violinist.

#### **Hutchinson, Mark**

Mark Hutchinson is a Lecturer in Music at the University of York, where he is a member of the Contemporary Music Research Centre and the Musical Cultures and Communities Research Cluster. His research focuses upon creative approaches towards the analysis of recent contemporary music. His book Coherence in New Music: Experience, Aesthetics, Analysis (Ashgate, 2016) uses ideas from a variety of different disciplines to argue for a novel concept of coherence within recent classical music. He has published articles examining overlaps between music, literature, and philosophy in works by Henri Dutilleux, Toru Takemitsu, and Georg Friedrich Haas. He is also active as a piano ¯ accompanist, chamber musician, and oboist.

#### **Kanga, Zubin**

Zubin Kanga is a pianist, composer, researcher, lecturer, and technologist. His work in recent years has focused on new interactions between live musicians and new technologies, including motion and bio-sensors, AI, analogue synthesizers, new interactive instruments, magnetic resonators, interactions with live-video, and internet-based scores. Zubin has premiered 120 works and performed at many international festivals, including the BBC Proms, London Contemporary Music Festival, Huddersfield Contemporary Music Festival (UK) Melbourne Festival (Australia), Festival Presences (France), Klang Festival (Denmark), Podium Festival (Germany), Resonator ´ Festival (Sweden), November Music (Netherlands), and Borealis Festival (Norway). Recent collaborations include those with Alexander Schubert on his internet-based work *WIKI-PIANO.NET*, with Nicole Lizee on her ´ *Scorsese Etudes*, and with Philip Venables on *Answer Machine Tape*, 1987, a concert-length piano and multimedia work exploring the life of artist David Wojnarowicz. After graduating from the University of Sydney and the Royal Academy of Music, Zubin was a postdoctoral researcher at the University of Nice and IRCAM and a Leverhulme Early Career Fellow at Royal Holloway, University of London, where he is now a Lecturer in Musical Performance and Digital Arts. He is also the Principal Investigator of Cyborg Soloists, a UKRI Future Leaders Fellowship–funded project exploring new music–technology collaborations between artists and industry.

#### **King, Elaine**

Elaine King is a Reader in Music at the University of Hull. She is a performer and musicologist with research interests in performance studies, music psychology, music education, and music analysis. Her doctoral thesis focused on the nature and effects of interaction in cello–piano duos during ensemble rehearsal and performance. Since then, she has published widely on different aspects of solo and ensemble playing, including breathing, rehearsal strategies, gestures, and small group work. She has co-edited four books with Ashgate/Routledge Press: *Music and Gesture* (2006), *New Perspectives on Music and Gesture* (2011), *Music and Familiarity* (2013), and *Music and Empathy* (2017). She is currently working on three projects: STROKESTRA (in partnership with the Royal Philharmonic Orchestra), Chinese Whispers (language learning through choral singing), and Transitions in Music Education. She is the Associate Editor of the journal *Psychology of Music*, Action Editor for *Music and Science* and a member of the Editorial Board for the *Journal of the Royal Musical Association*. As a performer, she is a cellist, pianist, and conductor. She directs the University Camerata and is involved in other regional chamber ensembles and orchestras when time allows.

#### **Kjar, David**

Performance studies scholar David Kjar is an Associate Professor of Core Studies and Music History in the Chicago College of Performing Arts at Roosevelt University. He has performed with early music ensembles in Europe and South and North America. He holds a Master's degree in historical performance (Natural Trumpet) from the Royal Conservatory of The Hague and a PhD in musicology from Boston University. His research grounds theories and philosophies on early music in specific performance experiences (performers and listeners), reframing the early music movement as a sonically constructed and heard Other Performance. He presents internationally on the topic and has published on Wanda Landowska, the early music movement, and authenticity in 21st-century contexts. He is committed to better understanding what constitutes a 21st-century artist, especially within conservatory training. The Paul R. Judy Center for Innovation and Research from the Eastman Institute for Music Leadership (Eastman School of Music) recognized this commitment with an innovation grant. He is the Executive Director of the Center for Arts Leadership at the Chicago College of Performing Arts, helping emerging professionals cultivate artistically and financially sustainable career paths. He is also a member of the international editorial board of the forthcoming journal *Performing Arts Histories*.

#### **Krause, Amanda E.**

Amanda E. Krause is Lecturer in Psychology at the College of Healthcare Sciences, James Cook University, Queensland. As a music psychology scholar, she studies how we experience music in our everyday lives from a psychological perspective. Findings from her research have made significant contributions to understanding how listening technologies influence people and how our musical experiences impact health and well-being. She is the author of numerous academic publications and currently serves as the President of the Australian Music & Psychology Society. She conducts community-focused and community-engaged research, working with music industry companies, performing arts organisations, mental health practices, radio providers, and aged-care facilities.

#### **Krivenski, Maria**

Maria Krivenski is a conservatoire-trained classical pianist, with a wide performing experience both as a soloist and chamber musician. She is also a music lecturer and piano tutor at Goldsmiths, University of London, where she has received the Peake Award for Excellence in Learning and Teaching. As a researcher, Maria has focused on the teaching/learning practices and the culture of musical performance in a university context. Her study, "'Feeding back' in musical performance: exploring feedback practice in relation to students' and tutors' learning and teaching experience", was funded by the PALATINE Development Award scheme. She has participated in the large-scale, EU-funded research projected PRAISE, contributing to the development of a social timeline for musical performers that facilitates online tutor and peer feedback. Maria has been awarded a PhD from the University of Sheffield for her research on emic understandings of classical musical performance in a university context.

#### **McCaleb, Murphy**

Murphy McCaleb is a senior lecturer in Music at York St. John University. He received his doctorate in ensemble performance studies from the Royal Birmingham Conservatoire after studying trombone performance and chamber music at the University of Alaska and the University of Michigan. As a bass trombonist and pianist, Murphy engages in a wide range of music, including classical, jazz, rock, folk, electronic, and experimental and has performed in two Glastonbury Festivals as part of the New York Brass Band. He has recorded on multiple albums, most recently *Mythical and Angry*, a funk collaboration with progressive rock drummer Andy Edwards, and Flora Greysteel's *From the Ground*. His background in musical direction includes an installation at the Illuminating York festival in 2016 and a four-star-reviewed run of Gavin Bryars' Jesus' Blood Never Failed Me Yet at the Edinburgh Fringe in 2019. His first book, *Embodied Knowledge in Ensemble Performance*, was released by Ashgate in March 2014.

#### **Montanari, Allegra**

Allegra Montanari enjoys a multi-faceted career as a change management consultant, nonprofit entrepreneur, creative leader, and professional cellist. She currently supports the Business Advisory Service practice at Slalom, a global consulting firm focused on strategy, business transformation, and technology. Before finding her way to consulting, Ms. Montanari founded the nonprofit Sharing Notes, which has since delivered live music to over 35,000 people hospitalized throughout Chicago. She served as Executive Director for eight years, growing the organisation from a small student group to an award-winning nonprofit. Appointed to the leadership of Roosevelt University's Chicago College of Performing Arts in 2017, Allegra combined her background of teaching, entrepreneurship, and performance to serve as the founding Director of the Center for Arts Leadership. Allegra has led presentations of the Civic Orchestra of Chicago, Indiana University's Jacobs School of Music, the College Music Society's National Conference, and the Royal Music Association (UK). As a professional cellist, Ms. Montanari has performed with ensembles and artists across the country. Ms. Montanari holds degrees in music and business from Indiana University and completed her Master's degree at the Chicago College of Performing Arts, where she was a student of John Sharp, Principal Cellist of the Chicago Symphony.

#### **Todd, Rae W.**

Rae W. Todd is a freelance clarinettist and independent researcher. He completed his PhD in Music Performance at the University of Hull in 2020 with a thesis on the phenomenon of play in professional chamber ensemble rehearsals and a portfolio of performances that featured a recital with the Berkeley Ensemble. He has performed widely across the UK as a soloist and chamber musician, including in the Edinburgh Fringe Festival, the Lincoln International Chamber Music Festival, and the Red Cross International Summer Concert Series. As an orchestral musician, he has performed with the Welsh National Orchestra, the Yorkshire Symphony Orchestra, Culture: Orchestra, Hull University Camerata, the York Guildhall Orchestra, and the Royal Welsh College of Music and Drama Orchestra and Wind Ensemble. He continues to pursue research on aspects of music making when time allows.

#### **Thomas, Kerry**

Kerry Thomas received her Bachelor of Musical Arts in the spring of 2022 in Music and English from Roosevelt University. Kerry has worked for the Chicago College of Performing Arts Center for Arts Leadership since 2018, first as a research assistant and currently as its Grants Manager. A trumpet player, Kerry has interests in both musicological research and performance. She recently completed her Honors undergraduate thesis, "Composing the Grand Ole Opera: Hidden Critiques of Southern Life, Liturgy, and Literature in the Operas of Carlisle Floyd." In the thesis, Kerry reveals how Floyd glosses the source material for his operas to explicitly comment on the United States, particularly the American South, arguing that Floyd's operas can be taken to be overtly political and, at times, as forming explicit critiques on American life. Kerry will continue her musicological pursuits in graduate school.

#### **Waddington-Jones, Caroline**

Caroline Waddington-Jones is a Lecturer in Music Education at the University of York. She has published in various leading peer-reviewed journals in music education and psychology, as well as guest-editing a Special Issue of Empirical Musicology Review and co-editing a volume on music and empathy research for Routledge with Dr. Elaine King. Caroline's research interests include technology and music learning; music and wellbeing; equity, diversity, and inclusion in music education; and music and empathy. She is currently the PI of two research projects. The SMILE research project (funded by Paul Hamlyn Foundation and SEMPRE) aims to develop and evaluate a new online resource for staff in special schools to help to address the current equality gap in music provision for disabled pupils. Meanwhile, the CoMusicate project (funded by Closing the Gap Network) works with people with lived experience of severe mental illness to design new technology that will support social and creative interaction through music and sound. Caroline has a strong commitment to musical inclusion and works with organisations such as Live Music Now, Music in Hospitals and Care, The Amber Trust, and Sounds of Intent to bring more music learning opportunities to disabled children and young people.
