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Dryburgh, J., and Jackson, J.H., Building a practice of learning together: Expanding the functions of feedback with the use of the flipchart in Contemporary Dance technique. Research in Dance Education, 17 (1); http://doi.org/10.1080/14647893.2016.1139078.
Hayden, S., Complexity, Clarity and Contemporary British Orchestral Music. Tempo, 277, 63-78; http://doi.org/10.1017/S004029821600019X
Redding, E., Lefebvre Sell, N., & Curtis-Jones, A., The value of sharing practitioner wisdom in a learning and teaching context for training contemporary dancers in a conservatoire. Journal of Dance and Somatic Practices, 8(2); http://doi.org/10.1386/jdsp.8.2.219_1.
Beck, S., Redding, E., & Wyon, M. A. Methodological considerations for documenting the energy demand of dance activity: a review. Frontiers in Psychology, 6, 568. http://doi.org/10.3389/fpsyg.2015.00568
Irving, J., Creating Haydn's Sonatas at the keyboard - Performer rights and responsibilities in Historical Performance. Journal of the Institute of Musicology of the Serbian Academy of Sciences and Arts, 16, 31-46; http://doi.org/10.2298/MUZ1416031I.
Wakeling, K., 'We’re all on the path ourselves': The 'reflective practitioner' in participatory arts with older people. Journal of Arts & Communities, 6 (2-3), 189-203; http://doi.org/10.1386/jaac.6.2-3.189_1.
Clark, J.O., Dance and Subtraction: Notes on Alain Badiou's Inaesthetics. Dance Research Journal, 43 (2), 51-64; http://doi.org/10.1017/S0149767711000052.