ABSTRACT. An exploration into the cutting edge technology of ultra-low latency web conferencing. Platforms are now emerging that claim to have finally solved an age-old problem in music education… How do we play together when we can’t be together? In this keynote, we’ll discuss what this field of technology is, how it works, what can be expected of it, and what may be its current limitation. We’ll look briefly into its past and into its exciting future – a landscape that combines the internet of things, edge computing, virtual reality, and artificial intelligence in a way that may bring us closer together as musicians than we’d ever dreamed.

Taylor Robinson is a CEO, CTO, and serial entrepreneur in the field of music education technology. After founding Taylor Robinson Music, America’s first “Uber for Music Lessons”, and growing its marketplace to contract with over 20,000 instructors, Taylor spun off its proprietary web conferencing platform to start a new company. RealTime Audio, with its unique “Zoom for Musicians” app, came loaded with a number of features and functions specifically relevant to music ed. Most importantly, it would crack the code on ultra-low-latency audio processing, enabling musicians the ability to finally play remotely, over webcam, as if they were in the very same room together. Today, Taylor is actively involved in running both companies. He continues to speak, advocate, evangelize and educate on the topic of music ed, technology, and how they will come to shape our lives, art, and work far into the future.

ABSTRACT. Before the pandemic (COVID-19), teachers around the world were predominantly teaching face-to-face (F2F) across all educational settings using classrooms, rehearsal spaces, studios and a range of tasks that were in physical reach of both the teacher and learner. At the start of 2020, due to a range of government restrictions when COVID impacted access to learning across Australia, teachers were forced to employ a range of technologies and pedagogies to sustain teaching and learning (Joseph & Merrick 2021; Kearney, Burden & Schuck, 2020, Ng & Renshaw, 2020). While this was unexpected for many teachers at this time it became a necessity to maintain contact and delivery. A considerable challenge surfaced as music teachers embraced digital tools and ICT to facilitate learning within the online space (King et al., 2019; Thorgersen & Mars, 2021; Camlin & Lisboa, 2021; Cheng & Lam, 2021).

This paper focuses on a broad project Reimaging the future: music teaching and learning, and ICT in blended environments in Australia” that started in 2021. In this paper the authors investigate: 1. What were favourite software packages, mobile device APPS, and online tools used in teaching? 2. What video-audio resources and websites were used to support online music teaching?

An anonymous online survey using open-ended items was disseminated with ethical permission to music teachers via peak Australian national music organisations (Carpenter et al., 2019). The qualitative data (Creswell & Poth, 2018) were analysed and coded numerically and by these categories (music/audio creation software, productivity software and online tools).

The data highlights the diverse and comprehensive coverage of software used by music teachers (N=112) and provides a focused examination of both the type and breadth of software used during the pandemic. The findings prove a substantial amount of software were used, affirming both a willingness and sustained interest from teachers to employ technologies as part of their creative teaching solutions during the pandemic.

The study shows that the online environment enabled adaptive pedagogy, transformed teacher preparation and delivery, and promoted the integration of a range of technologies. While generalisations to other countries and subject areas cannot be made from this study, recommendations are offered in relation to sustainability in the online teaching space with reference to in-service and pre-service teachers.

ABSTRACT. INTRODUCTION Simulation training is used to develop performance skills in various disciplines, particularly where in-situ training is either impossible or unsafe to implement (Renganayagalu et al., 2021). Such training enables learners to acclimatise to real-life stressors and anxiety-inducing scenarios in a physically and/or psychologically safe environments, to protect against performance decrements which reveal themselves in high pressure contexts rather than low-stress practice sessions.

BACKGROUND Recent work using immersive virtual reality (VR) provides preliminary evidence of the capacity of this technology to evoke music performance anxiety (Fadeev et al., 2020; Fanger et al., 2020). In this study, we explore the capacity of VR to assist music students to develop technical and psychological competence to perform at their best under pressure implemented within tertiary music institution settings.

METHOD Richie’s Plank Experience (Toast VR, 2016) was used to approximate the physiological symptoms of high-stress performance in a single case pilot study with a highly trained violinist. Prior to exposure, a performance psychologist taught the participant a pre-performance routine with demonstrated utility in musicians (Osborne et al., 2014). The psychologist subsequently guided the participant remotely through the routine via Zoom, whilst the participant was immersed in the VR environment. Heart rate, subjective units of distress, and confidence measurements were taken across five levels of exposure which varied the integration of instrument and intervention.

FINDINGS The plank task induced a notable stress response. Additionally, the musician was receptive to pre-performance routine instructions to downregulate their stress response. This created a performance focus when in the VR environment, demonstrated by decreased anxiety and increased confidence ratings across performance tasks.

IMPLICATIONS/RECOMMENDATIONS We provide preliminary evidence for the capacity of immersive VR to induce the situational stress required to trigger a cascade of physical and psychological responses. The benefits of this technology need to be considered alongside areas such as privacy, storage, access, and accessibility.

CONCLUSIONS This project has identified the urgent need to develop a discourse and performance practice framework regarding ethical performance in virtual and augmented reality. The employment of a virtual environment to consider ethical questions relating to music performance outputs and practices provides a rare opportunity to instigate a transdisciplinary conversation in this timely and urgent domain and deliver creative and performance art opportunities that capture the intersectionality and confluence of the arts.

ABSTRACT. Introduction This project examines the ecosystem of online tools and digital pedagogies at the Faculty of Fine Arts and Music (FFAM) at the University of Melbourne, Australia. The faculty employs a learning-management-system (LMS) called ‘Canvas’ for subject delivery to over 13,100 students university-wide. The digital ecosystem is examined through an exploration of the rich, but underutilised, Canvas shell data.

Background Information The COVID-19 global pandemic has seen many pedagogical practices be recast to accommodate the abrupt shift to online teaching and learning that was experienced at the commencement of the health crisis. This shift has been no more starkly seen than in the performing and creative arts domains. Understanding the impact of these changes on student outcomes is crucial to ensure the delivery of sustainable, world-class services into the future (1).

Methodology Our aim when analyzing the data was to identify trends in content delivery and interactions over time. Using tools including Network X and Gephi we undertook social network analysis to identify and explore patterns of engagement and interaction between students and instructors. This analysis interrogated whether students in performing arts subjects connected with the same peers throughout the duration of a subject, or if their connections changed.

Findings Findings indicate that social network analysis is a promising method for interrogating student-to-teacher and peer-to-peer relationships. This preliminary data exploration lays the groundwork for additional analyses across a broader intersection of performing arts subjects.

Implications/Recommendations This paper is among the first to extend current social network analysis applications in the study of teaching and learning which rarely draws data from performing arts subjects (2). Future research can extend this work by including data from additional performing arts subjects, and by examining how networks present in online performing arts subjects relate to network theory more generally.

Conclusion Understanding how performing arts subjects are taught and engaged with in an online environment is an important step in understanding best practice in online delivery. This will be essential for building resilient teaching and learning practices in the future. Social network analysis is a useful tool for understanding learning and teaching data across disciplines, and the performing arts subjects are no exception. The use of Canvas data to provide insight into online pedagogies in the performing arts is a fruitful area of future research.

ABSTRACT. This article is a reflective discussion of five themes relating to composing and online music teaching in higher education. The collection of themes aims to provide supportive ideas for online music teachers in preservice generalist teacher education. The first theme is about composing and wellbeing, an emergent outcome from my current and ongoing practitioner research into an improvisation-based approach to playing the ukulele. The second theme discusses findings from my doctoral study that may support preservice teachers to foster children's creative processes in music education. The third theme is an exploration of a poignant similarity between self-directed learning in creative process practice (a finding in my doctoral study) and self-directed learning as a pedagogy informing online learning. Theme 4 is a rationale for the inclusion of composition in online music teaching, and Theme 5 is a reflective ‘imagining’ of individual creative process composition experiences for online music learners. The methodology underpinning this article is practitioner research which has spurred reflective discussion around the themes of composition and online music teaching. The findings provide an array of strategies, prompts and ponderings that may be useful for the planning and teaching of music in online arts education subjects in higher education.

ABSTRACT. Social media has a prodigious effect on the lives of adolescents. While media of all formats influences adolescent musical preference, it is worth investigating the way in which social media influences and intersects with those preferences. This review of literature encompasses discussion of how adolescents use social media and the internet at large, as well as the ways that social media exposes adolescents to different forms of music. Several themes arise here: changing functions of social media use among teenagers, changing methods of music listening via social media apps, and changing appetites for different types of music among young people. Adolescent social media use increased during the worst months of the COVID-19 pandemic, and while social media can have negative impacts on adolescents, some research indicates that social media use allowed for a greater sense of community while in isolation (Rideout, et. al., 2021). The music industry itself has also remade itself in the age of social media and streaming music. Additionally, there are comparisons between personality traits as studied in tandem with both musical preferences and social media use — with special attention to the link between depression and social media use. As the methods of music consumption have leapt from MySpace and MP3s to streaming and TikTok, researchers are still searching for personality predictors to determine what types of music young people will take interest in. Some have found that unifying factors such as race, gender, or social class can also predict musical tastes (ter Bogt et. al, 2011). Additionally, the increased capacity of music available everywhere allows teenagers to explore beyond many genre constraints (Bansal et. al., 2020). Even before the rise of digital music, patterns in musical preference have been trending toward more “omnivorous” musical preferences over the course of several decades (Peterson & Kern, 1996). Researchers have also attempted to determine musical consumption behaviors across online services (Weinberger & Bouhnik, 2020). It is recommended that due to increasingly diverse music listening habits, educators and stakeholders should attempt to bring further music offerings into the fold to keep up with adolescents' expansive musical exposure through social media.

ABSTRACT. Recently, growing interest from music educators and researchers has focused on the intersection of maker culture in music education (Palaigeorgiou & Pouloulis, 2018). Maker culture is closely connected to STEAM education, focusing on project-based learning through collaborative and authentic problem-solving approaches (Huang, 2020). Despite the fact that such activities appear at school, hands-on activities are yet to be used broadly in conservatory settings. This presentation discusses the incorporation of maker culture activities in a music theory class in a Greek conservatory with a group of 4 students aged 6 to 7. The focus was on exploring students' learning process and investigating their perceptions on the value of the maker culture intervention for their musical comprehension. For a period of four months, we applied hands-on musical activities for this student group, using the Synth4kids application. Synth4kids is an original web-audio application designed to be incorporated in music teaching-learning processes for young ages (Mygdanis, 2021). It integrates elements from the traditional music-pedagogical methods –Dalcroze Eurhythmics, Orff Schulwerk, Kodály Method– along with features aligned with current trends in "music, technology, education" –Ubimus, IoMusT, augmented reality, QR codes, etc. One of the most prominent features is the compatibility with the LeapMotionTM sensor and the Makey-MakeyTM microcontroller, providing extended music-making and teaching-learning through the construction and connection of tangible-musical artifacts –instruments, sound-based interfaces. Activities followed a STEAM project-based learning perspective, providing students with cooperative, interdisciplinarity, game-based, and authentic problem-solving experiences. Findings from observation, semi-structured interviews, informal discussions, and written formative assessment show that young students embraced maker culture activities with enthusiasm and emerged in music-making as active agents. Overall, participants stated that the new learning environment enhanced their engagement and transformed their experiences.

References Huang, H. (2020). Music in STEAM: Beyond Notes. The STEAM Journal, 4(2), 1-11. Mygdanis, Y. (2021). Virtual instruments in music teaching and learning at kindergarten-age: an educational proposal using Synth4kids web-application. In Digital Culture & Audiovisual Challenges: Interdisciplinary Creativity In Arts And Technology (pp. 141 - 148). CEUR Workshop Proceedings. Palaigeorgiou, G., & Pouloulis, C. (2018). Orchestrating tangible music interfaces for in-classroom music learning through a fairy tale: The case of ImproviSchool. Education and Information Technologies, 23(1), 373-392.

ABSTRACT. Teaching aural training and sight-singing online brings about two major challenges: How do we keep students motivated? And while doing so, how do we retain a high level of tuition quality? This presentation will demonstrate how the app EarMaster can help reach both aims effectively.

Hans Lavdal Jakobsen, M.Sc. Robotics, Founder and CEO of EarMaster. With his engineering background in robotics from the Technical University of Denmark (DTU) and his passion for playing Classical and Jazz music, Hans Lavdal Jakobsen developed the idea of EarMaster back in the mid-90’s. Until recently, he had been the lead developer of the EarMaster software, but he now focuses almost exclusively on leading the EarMaster company towards its vision to make the perfect tool for Musicianship tuition. Hans plays the piano, mainly jazz and gospel music, and plays at various Gospel events in the area where he lives.

ABSTRACT. This study is part of a larger research project entitled ‘Reinhabiting the Neighbourhood: Processes of Transformation and Empowerment between University-School-Society through Artistic Practice’ EDU2017-84750-R (FEDER/MCIU/AEI). This project has the triple aim of designing, implementing, and evaluating an artistic programme of socio-educational intervention. It originated with the purpose of creating bonds in the educational, cultural and social spheres that would bring about social transformation and citizen empowerment. The programme entitled ‘My Neighbourhood, My School’ consists of 29 artistic-pedagogical actions, in which situated learning was implemented, where the pedagogical material for each of the actions is provided by the neighbourhood itself from different approaches. One of these actions ‘Musical production and creation: adding a soundtrack to an exhibition space’ seeks to encourage critical thinking and creativity in university students taking the Primary Education Teacher Training degree, based on diverse sound strategies. Over two months in five one and a half hour sessions, students made musical compositions guided by a musician and musical producer, using the sequencing programme Cubase. They introduced digital and analogical instruments into their compositions. The resulting compositions served as sound material in order to add a soundtrack to the diverse exhibition actions of the project (Berbel et al., 2022). Some of these productions were introduced into the musical soundtrack of the video mapping projection – a live audio-visual performance – which was carried out on a large-scale sculpture/model of the neighbourhood that was produced collaboratively. The video mapping projection ‘Audio-visual neighbourhood imaginary’ showed: the neighbourhood’s past as one of the main nuclei of industrial development in the city; its present, in which all the diversities and potential it contains are presented; and its future, based on the imaginary of primary school boys and girls (Berbel et al., 2021). The evaluation performed is qualitative in nature: whereby the opinion of the university students was gathered through an open reflection. The results indicate the potential of this type of proposal to discover different aspects of the sound and language of music. It is worth pointing out that Fullan’s 6Cs (2021) are present in this educational proposal – Critical thinking, Communication, Collaboration, Creativity, Character education, and Citizenship – currently considered essential skills in education. Emphasis is placed on the use of sound as a tool to create a new re-presentation of the neighbourhood, which suggests a new look and at the same time a creative, interactive and audio-visual artistic experience.

ABSTRACT. Virtual Reality (VR) technology is an immersive, globally interconnected digital environment that allows users to immerse themselves in a 3D interactive world where different sensory and emotional experiences are encountered (Villena-Taranilla et al., 2022). VR might offer numerous advantages and disadvantages. However, exploring the influence of VR on essential aspects of early childhood development up to now has not been studied in great depth, mainly since most of the research has been done on young adults (Braren & Fels, 2022). This study aims to determine the effectiveness of VR technology in early childhood. It involves a qualitative approach and collecting subjective data by interviewing 20 parents and carers of children between (4–6 years old) who uses VR. Solid evidence of VR's benefits has graduated from the semi-structured interview; their interactive "virtual avatar" is beneficial for developing cognitive and academic skills. Furthermore, VR allows for several levels of difficulty to gradually bring the child out of their comfort zone builds new input on what he has already mastered in line with the content of Vygotsky scaffolding (Berk & Winsler, 1995) which positively affects their self-confidence. Finally, having enjoyment during the learning process has a tangible impact on information assimilation and long memory retention. On the other hand, producing a sense of presence, or "being there" in the mind of young children using VR, would make their "virtual avatar" with a high degree of physiological effect. That may lead to introducing the virtual experience as an authentic memory (Segovia & Bailenson, 2009); this may threaten the children psychologically if strict age-specific standards of use are not adhered to. Besides, social interaction skills may be one of the most prominent downsides of limiting gameplay to solo play or accompanying virtual characters "avatars". The fact that VR technology continues to expand and spread rapidly may require scientific research to race this expansion to investigate the effects of these immersive technologies in the short and long term, primarily on young children. To direct the enormous potential of immersion technology to achieve maximum benefit and avoid potential risks as much as possible.

ABSTRACT. This paper presents a part of a PhD research that explores how older adults perceive and engage in learning musical instruments in the digital age. This research, in particular, starts from the point of view that previous research has shown that there are wider benefits of musicking for older adults. Given that, it looks at how older adults make sense of their experience in learning musical instruments after retirement and the functions and challenges in using digital technologies when they participate in community music programmes. Considering the rapid advance of technology and the growing number of older adults using digital technology, this study aims to offer new insights using a novel methodological approach, Interpretative Phenomenological Analysis (IPA). Data were gathered through semi-structured interviews with ten retired older adults who participated in music instrumental learning programmes at local community centres in South Korea. Interviews were transcribed verbatim and analysed using Interpretative Phenomenological Analysis. Three group experiential themes have emerged from the data a) Impact of YouTube on the learning experience of music instruments, b) Conflicted perceptions of using technologies for learning and playing music c) The use of Apps as assistive tools for musicking. The experience of learning musical instruments was viewed by participants as a positive and fulfilling experience, and the use of YouTube and Apps related to music activities is likely to be prevalent among the participants. Particularly, despite challenges, the participants recognise YouTube and Apps as applicable to develop technical skills, monitor their progress and enrich their musical experience by attributing a role as an agent. These results indicate that YouTube and Apps are valued among the participants as a medium for developing musical skills and increasing musical information. In sum, this study sheds some light on the potential of digital technologies among older adult learners in developing their musical skills and expanding musical knowledge.

ABSTRACT. As part of Visconti Studio's experiments with analogue sounds and synthesis, the Kingston University Stylophone Orchestra was created by Dr Leah Kardos in early 2019.

Through legendary producer Tony Visconti, who is affiliated to Visconti Studio as visiting artist and professor, Leah was introduced to Stylophone manufacturer Dubreq, who donated a collection of new and vintage instruments to Visconti Studio's analogue instrument archive. At the sight of a car boot full of Stylophones, Leah found herself wondering aloud if a musical ensemble using the unique electronic instruments might be possible.

Though the musical palette of the Stylophone initially appeared limited, its restrictions quickly inspired creativity and ingenuity. Within a short time, the orchestra was official and performing in venues across London. The global pandemic put a stop to the group’s regular rehearsal schedule in 2020-21, when the group decided to turn its attention towards a collaborative production project – something that everyone could work on remotely, as both distraction and creative outlet. Once campus began to open up again in March 2021, the orchestra returned to Visconti Studio to record the finishing touches for this debut album release.

Stylophonika was released in January 28, 2022 and features arrangements of tracks by Vangelis, Wendy Carlos, Jean-Michel Jarre, Bowie and Brian Eno, alongside original compositions that explore the unique range of musical expressions that only a Stylophone orchestra can make. In addition to receiving glowing press reviews and selling out of a limited vinyl run on local Kingston label Spun Out of Control records, the orchestra was featured in the Feb Issue (no 85) of Electronic Sound magazine.

The Kingston University Stylophone Orchestra is believed to be the only ensemble of its kind in the world.

ABSTRACT. The ways in which music producers and audio engineers work in recording studios is constantly changing in the face of technological advancement. Firstly, the equipment and software tools necessary to carry out all aspects of music production from recording to mastering is becoming more efficient, thanks to the exponential growth in computer processing power. Secondly, these technological advancements makes it possible for smaller recording studios to output stellar productions due to high quality equipment becoming more affordable each year. However, not everyone is able to take advantage of the opportunities afforded by this progress and there is still a lot to be done to create a level playing field for all players.

The community of disabled music industry professionals are far too often left behind, due to mainstream equipment being inaccessible. I believe the time is right to address the needs of this very capable but underserved sector. These music industry professionals face many challenges. In-order to develop a platform that will allow disabled music practitioners to gain full access to mainstream production tools, research must be conducted around diverse music practices in contemporary studio settings.

By starting this work with the adaptation of existing technologies such as Bluetooth or MIDI 2.0 (Musical Instrument Digital Interface), I will begin by investigating a platform that can allow disabled practitioners to communicate with these devices via voice commands and receive the necessary feedback to enjoy a comfortable and efficient workflow. I envisage that through careful practice-informed research and development, GENISYS will take the form of an elegant hardware device, accompanied by a cutting-edge operating system that can understand standard studio terminology. I will make use of the current collaborations I am involved in with music equipment manufacturers regarding accessibility development, to guide the process of building GENISYS.

GENISYS will also provide a new and exciting workflow for able-bodied users, allowing them to enjoy a more immersive experience when working in the recording studio, by allowing them to interact with their equipment using their voice instead of the standard mouse and keyboard. This workflow could lead to increased productivity since the experience of working with GENISYS using natural speech will be similar to having a human studio assistant.

References:

Gupta, P. and Yadav, S., 2021. SPYDER: Intelligent Voice Assistant.

Designing a VUI (Voice User Interface). Frederik Goossens, 2018.

ABSTRACT. We organised artist lead workshops allowing creative interaction between people affected by voice loss and their relevant health-care professionals, technology experts and researchers in biochemistry/robotics and engineering. Central in the activities is, Robovox, the development of an implantable larynx, led by UCL researcher (Martin Birchall). Together, we explored issues of voice loss and identity and translated this outcome into opera, music, live performances and installation pieces. We will discuss the feedback from the broad variety of participants, who all play an important role in the cyclical process of scientific research, yet all have different perspectives and anticipations.

ABSTRACT. This study is part of a larger project: Plectrus. The Plectrus project aims to build a software solution for the initial study of intonation with brass instruments adopting a design-based research, which structures its design, implementation and evaluation. This work presents the first phase of the project: the caracterization of Spanish music school teachers' praxis and the detection of needs to construct the intended software. The participants mention that intonation is very important in the learning of brass instruments. There is a heterogeneity of the stated intonation contents, which is not surprising as the official documents are deliberately ambiguous. Thus, there is no teacher consensus on intonation contents and they do not usually plan specific intonation contents. Intonation is worked on through repertoire. Related activities consist of playing and matching long sounds, playing specific intervals to achieve correct intonation, playing scales and arpeggios, playing with the accompaniment of a pedal, drone or ostinato. Instrumental teachers do not prioritise intonation in elementary studies, probably because the construction of auditory images (Pfordresher and Halpern, 2013) is a matter of continuous practice, of time, which students do not have in class and do not have at home because of the compatibility they must achieve between musical and general studies. Some participants state that this process of constructing sound representations should be done through singing rather than with the instrument. This agrees with Bernhard (2002), but not with the results of Silvey et al. (2019). Participants tend to work extensively with the imitation method. The importance of group lessons as opposed to individual lessons is highlighted, as pupils of this age are more receptive and open when they are with other children. Intonation is often not seen as the only evaluative factor. It may also be due to the inability of novice learners to intonate correctly due to one or more of the cognitive or motor control factors mentioned by Pfordresher and Mantell (2009).They use rubrics with criteria such as general intonation, whether the sounds of the melody have been produced, whether the melodic profile is reproduced, etc. Despite this more holistic attitude to assessment, some teachers maintain deep-rooted didactic traditions. Intonation should also be addressed systematically from the beginning of brass studies. This does not mean that it should be 'intensive teaching', but that it should be worked on and evaluated from the sound itself, not from the repertoire.

ABSTRACT. Instrumental practice strategies and behaviors are relevant for learning and continuity in musical instrumental studies (McPherson, 2005). In turn, computer-mediated learning is increasingly implemented in educational contexts, which calls for research on self-regulatory processes in computer-mediated learning. The aim of this ethnographic work is to find out how young viola and violin students self-regulate during their practice with an instrumental intonation support software. Self-regulation is important for learning because it has direct implications for outcomes (McPherson, 2022; McPherson & Zimmerman, 2011; Zimmerman, 2013). However, work on self-regulation in instrumental music learning has been mainly concerned with intermediate and advanced levels (Araújo, 2016; Dos Santos & Gerling, 2011; Geringer et al., 2015; Hatfield et al., 2016; Leon-Guerrero, 2008; McPherson et al., 2017; Miksza, 2015; Miksza et al., 2018; Miksza et al., 2012; Miksza & Tan, 2015; Nielsen, 2004; Pike, 2017). Overall, the results support the relationship between self-regulation and performance. In turn, studies concerned with early stages have shown that some students exercise a certain level of self-regulation (Austin & Berg, 2006; Hallam et al., 2012; McPherson, 2005; McPherson & Renwick, 2001). A multiple case study was conducted with 4 violists and violinists aged 10-11 years. The duration of the study was 4 weeks. The data were obtained from personal study diaries and from practice in front of the principal investigator (filming). Preliminary results indicate that students are able to self-regulate and that they use different strategies and behaviors to do so, although the frequency and processes vary among them. One student stands out in terms of the volume of self-regulatory processes. This student also seems to achieve the highest scores with the software, which would support the positive relationship between self-regulation and performance. Practice with Plectrus allows instrumentalists to work autonomously at home, knowing the performance of their practice. This is important, as it mitigates the concern of teachers and family members about the quality of practice. The young participants have self-regulated during their practices with Plectrus, although some have benefited more positively than others. However, it seems that Plectrus has not had a negative influence on the students' self-regulation during their internships with this software.

ABSTRACT. It has been shown in the literature review analysis of research on Saudi Arabia (Alquraini, 2011; Felimban et al., 2016; Al-Assaf, 2017), that there was a lack of study in the field of dyslexia in higher education. As most of the studies that have been found around dyslexia in Saudi Arabia were about school level (Al-Shareef, 2017; Al-Assaf, 2017; Felimban et al., 2016), there is a pressing need to carry out this study to contribute to the knowledge in the field. This study presents the outcomes of a qualitative case-study of the effect of social media in Saudi Arabia for learners with dyslexia in higher education.

The aim of this study is to investigate the effect of social media on adult learners with dyslexia in Saudi higher education. This study was carried out on Saudi Arabian adults learners with dyslexia. An interview was conducted with five participants, to understand the effect of social media on them.

The finding shows that the decisions of these participants regarding their studies were influenced by social media and led them to question their abilities, for example, can learners with dyslexia continue their higher education. The results shows that P2, P3, P4 and P5 decided to give up studying at the university. On another hand, P1 found useful information and benefitted from some connections on social media that helped her engage with studying.   P2, P3 and P4 who gave up studying decided not to mention about dyslexia to people. As they described that with dyslexia, they cannot continue their education based on what they found on social media, which contain that learners with dyslexia cannot reach a higher level of education because of their low mental abilities. This made them feel ashamed of seeking help. Although, P5 after he left the university started to challenge any negative statements he could find on social media about dyslexia. Also, P5 created accounts on social media platforms in Arabic language to educate people about dyslexia.

ABSTRACT. The purpose of the study is to shed light on the challenges that flautists face and which are currently under-reported in the literature, especially from the flautists’ perspectives. The research investigates all kinds of performance-related health issues among flautists, such as possible physical discomfort or injury and related mental health challenges. The study also examines what difficulties flautists experience within the areas of flute learning and teaching. The research embraces musculoskeletal problems and neurological disorders among individual flautists, including students, professionals, and teachers. A pilot study undertaken during the Covid-19 pandemic used a mixed methods approach. There were three phases in the pilot: phase 1 = narrative enquiry, phase 2 = Zoom interview, plus phase 3 = online questionnaire. Fourteen flautists participated and they each reported a personal history of performance-related health issues.

The pilot data review drew on Interpretative Phenomenological Analysis to show that flautists were likely to have experienced difficulties and had already encountered music-related pain. The findings so far reveal that the lived experience of having performance-related health issues among flautists is multifaceted. Although flautists experience difficulties related to their flute playing, they keep on playing the flute, and each reported a close relationship with their instrument. During the pandemic, flautists engaged in online music learning and performance, and also music production.

ABSTRACT. An initial mixed-methods study examined the wellbeing of professional musicians in New York City to understand the impact of the pandemic on their income, identity, and wellbeing in 2021. A google survey link containing 44 questions was disseminated by three music organizations and on the researcher’s email and social media in the summer of 2021. Additionally, six qualitative interviews of professional musicians were conducted remotely, transcribed, and analyzed for themes using discourse analysis. A total of 111 participants reported that 60% of musicians’ primary income comes from a combination of teaching, gigging, and recording. Qualitative findings detailed musicians’ wellbeing experience regarding teaching private and virtual lessons on instruments and voice amongst other factors. Out of six professionals sharing their experience of virtual music lessons in the pandemic, three continued teaching virtually with mental health and identity struggles, one quit performing altogether to solely run a virtual teaching business, a fifth relied on a sales day job, and a sixth musician continued available freelance work with a mix of teaching both virtual and in-person lessons.

Findings report both positive and negative impacts of virtual teaching on musicians’ wellbeing. Positive impacts of virtual music teaching included reduced commute time between lessons and increased opportunity to reach more students online in an evolving global landscape. Negative impacts included poor student attention span and compromises to the education experience in physicality and visual information. Unrelated to or perhaps exacerbated by the pandemic, jazz and improvising musicians reported a sense of dejection with regard to talent and identity about teaching as a mandatory activity and primary income source, due to a lack of paid performance opportunities, royalties, and notably low digital streaming pay shown by quantitative data. Implications from the research suggest increased support initiatives for professional musicians in Covid-19 from tech, non-profit, federal, and state arts funding councils. Furthermore, the study suggested that the identity and wellbeing of professional musicians are tied to factors such as performance quality, income sources, and validation. Recommendations for improving current challenges would be increased financial payment for creative music laborers in performance and recording, including accountability in digital and radio royalties.