In 1950, percussionist and pedagogue Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the country. In this article, I argue that Price's accreditation of the genre, coupled with his many other entrepreneurial initiatives, was made possible by the…

The process of making an original music album is highlighted to illustrate aspects of the music production process in addition to how leadership and related factors play out during this process. Background information is detailed regarding musicians as entrepreneurs, the music production process, group dynamics, learning approaches, aspects of…

The purpose of this study was (1) to examine the impact that small ensemble free improvisation experiences had on dispositional empathy development when compared with other forms of collective music making; and (2) to examine the relationship between co-performing musicians' empathy levels and their performance achievement in small ensembles using…

Limited consideration has been given to the challenges young composers and performers face when learning to communicate through notation in contemporary classical music, and the specific opportunities presented for peer learning. This article describes a project at a Swiss music conservatory in which two student composers wrote pieces for solo…

How might primary students utilise the stimulus of a painting in a collaborative composition drawing on a non-conventional sound palette of their own making? This practitioner research features 17 recorder players from a Year 6 class (10-11-year-olds) who attend a West Auckland primary school in New Zealand. These children were invited to…