2018

Barr, M., and Jackson, J.H., Enhancing delivery and assessment: a case study in module redesign for improved transition into Higher Education. Journal of Political Science Education (forthcoming).

Dryburgh, J., Location of possibilities: Exploring dance technique pedagogy through transformation and careJournal of Dance Education (forthcoming).

Dryburgh, J., Unsettling Materials: Lively Tensions in Learning Through ‘Set Materials’ in the Dance Technique ClassJournal of Dance and Somatic Practices, 10.1. (forthcoming).

Irving, J., ‘What’s my Line?’ Performing Meaning in Mozart’s Chamber Music. Journal of the Royal Musical Association, 143(1), 255-265; https://doi.org/10.1080/02690403.2018.1434357.

2017

Araújo, L., Wasley, D., Perkins, R., Atkins, L., Redding, E., Ginsborg, J. & Williamon, A., Fit to Perform: An Investigation of Higher Education Music Students’ Perceptions, Attitudes, and Behaviors toward HealthFrontiers in Psychology: Performance Science, 8, 1558; https://doi.org/10.3389/fpsyg.2017.01558.

Brown, M.A. Howatson, G., Quin, E., Redding, E. & Stevens, E.J., Energy intake and energy expenditure of pre-professional female contemporary dancersPLOS ONE Journal 12(2); https://doi.org/10.1371/journal.pone.0171998.

 Jackson, J.H., and Price, C., Illuminating constellations of peer mentoring: the case of music programmes in higher educationInnovations in Education and Teaching International; https://doi.org/10.1080/14703297.2017.1417887.

McDowell, J., Parry, N., Boyd, M., Playing the Bridge: exploring the sonic potential of Hull's swing bridge as a giant musical instrument. BRIDGE: The Heritage of Connecting Places and Cultures.

Szram, A., Breaking musical barriers - using online learning to bring musicians together. 2nd International Paulo Freire Conferencehttp://www.paulofreireconference.com/index.php/ipfc/education-transformativepractice/paper/view/51 (full paper to be published).

2016

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 MusicTempo, 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.

2015

Beck, S., Redding, E., & Wyon, M. A. Methodological considerations for documenting the energy demand of dance activity: a reviewFrontiers in Psychology6, 568. http://doi.org/10.3389/fpsyg.2015.00568

2014

Irving, J., Creating Haydn's Sonatas at the keyboard - Performer rights and responsibilities in Historical PerformanceJournal 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.

2011

Clark, J.O., Dance and Subtraction: Notes on Alain Badiou's InaestheticsDance Research Journal, 43 (2), 51-64; http://doi.org/10.1017/S0149767711000052.