Few investigations into the nonverbal communication in ensemble playing have focused on gaze behaviour up to now. In this study, the gaze behaviour of musicians playing in trios was recorded using the recently developed technique of mobile eye-tracking. Four trios (clarinet, violin, piano) were recorded while rehearsing and while playing several runs through the same musical fragment. The current article reports on an initial exploration of the data in which we describe how often gazing at the partner occurred. On the one hand, we aim to identify possible contrasting cases. On the other, we look for tendencies across the run-throughs. We discuss the quantified gaze behaviour in relation to the existing literature and the current research design.

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting).

This practitioner research, conducted by a secondary school music teacher, deals with two complementary questions: the conceptual question how one could define the ‘artistry’ of a music teacher in the context of his teaching practice, and the empirical question in how far the music teacher’s actions can determine the quality of the musical interactions with his students. The paper elaborately describes the institutional context for this (doctoral) practitioner research study, and integrates two premises, one regarding the negative image of the school subject music, and another about the vagueness and the ongoing discussions about the required competences of a ‘good’ music teacher. The first question is dealt with in a theoretical way, resulting in a working definition for a music teacher’s ‘artistry’: ‘a music teacher’s “artistry” lies within the extent to which he can apply his musical competences in “immediate” teaching situations’. The second question is studied empirically using a set of qualitative data sources, derived from the practitioner researcher’s teaching practice, that were analysed by means of a self-developed ‘three-dimensional matrix of the music teacher’s real-time teaching actions’. This results in a set of 10 categories in which the music teacher clearly demonstrates ‘unprepared non-routinisedroutinized musical actions’.