John Encarnacao lectures in music at Western Sydney University, Australia. His book, Punk Aesthetics and New Folk (2013/2016), is an alternate history of popular music argued through the analysis of recordings that span the period 1926–2011. He has also published essays on Throbbing Gristle, Courtney Barnett and Angela Carter. As a guitarist, singer, songwriter, composer and improviser he has some 30 releases to his credit.Diana Blom, Associate Professor of Music at Western Sydney University, has published on higher education music performance and preparing new music for performance. She is co-author (with Matthew Hindson and Damien Barbler) of Music Composition Toolbox (2007). A composer and keyboard player, she has co-curated several CDs for release.

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• 1. Teaching and evaluating music performance at university: a twenty-first century landscapeJohn Encarnacao and Diana BlomPART IIStudent experiences 12. Reassessing what we call music: investigating undergraduate music student response to avant-garde music through Annea Lockwood’s "Piano Burning"Diana Blom and Raymond Strickland Teaching approaches: Student collaboration3. All together now: semi-autonomous ensemble building through collaborationEleanor McPhee4. Transformational insights and the singing-self: investigating reflection and reflexivity in vocal and musical group learningDiane Hughes 5. The iPad Orkestra ensemble: creative and collaborative learningIan Stevenson and Diana BlomPART IIStudent experiences 2 6. Back to the future: a role for 1960s improvisatory scores in the 21st century undergraduate music performance programDiana Blom, Brendan Smyly and John EncarnacaoProfessional development 7. A professional development program to facilitate group music performance teachingAnnie MitchellTeaching approaches: performance practice8. Implementing group teaching in music performanceAnnie Mitchell9. Introducing first year music students to the choral experience: skills for lifelong enjoyment and for the portfolio careerNaomi Cooper 10. Free improvisation: what is it, can it be taught, and what are the benefits?John Encarnacao, Brendan Smyly and Monica Brooks11. Performativity and interactivity: pre-paradigmatic performanceIan Stevenson 12. Expanded practice: facilitating the integration of visual media, theatricality and sound technology into music performanceIan Stevenson, John Encarnacao and Eleanor McPhee PART IIIStudent experiences 313. Play as a medium for active learning in vocal education at universityLotte Latukefu and Irina Verenikina Evaluating performance14. Disciplinary perspectives on music performance through the lens of assessment criteriaIan Stevenson15. Engaging music performance students in practice-led reflective essay writing and video/recording analysisEleanor McPhee and Diana BlomPART IVStudent experiences 416. Curriculum as catalyst: from rock guitarist to transcendent improvisationAdrian Barr and Diana BlomCONCLUSION17. Provocations for change in higher music educationGlen Carruthers

John Encarnacao lectures in music at Western Sydney University, Australia. His book, Punk Aesthetics and New Folk (2013/2016), is an alternate history of popular music argued through the analysis of recordings that span the period 1926–2011. He has also published essays on Throbbing Gristle, Courtney Barnett and Angela Carter. As a guitarist, singer, songwriter, composer and improviser he has some 30 releases to his credit.Diana Blom, Associate Professor of Music at Western Sydney University, has published on higher education music performance and preparing new music for performance. She is co-author (with Matthew Hindson and Damien Barbler) of Music Composition Toolbox (2007). A composer and keyboard player, she has co-curated several CDs for release.

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• 1. Teaching and evaluating music performance at university: a twenty-first century landscapeJohn Encarnacao and Diana BlomPART IIStudent experiences 12. Reassessing what we call music: investigating undergraduate music student response to avant-garde music through Annea Lockwood’s "Piano Burning"Diana Blom and Raymond Strickland Teaching approaches: Student collaboration3. All together now: semi-autonomous ensemble building through collaborationEleanor McPhee4. Transformational insights and the singing-self: investigating reflection and reflexivity in vocal and musical group learningDiane Hughes 5. The iPad Orkestra ensemble: creative and collaborative learningIan Stevenson and Diana BlomPART IIStudent experiences 2 6. Back to the future: a role for 1960s improvisatory scores in the 21st century undergraduate music performance programDiana Blom, Brendan Smyly and John EncarnacaoProfessional development 7. A professional development program to facilitate group music performance teachingAnnie MitchellTeaching approaches: performance practice8. Implementing group teaching in music performanceAnnie Mitchell9. Introducing first year music students to the choral experience: skills for lifelong enjoyment and for the portfolio careerNaomi Cooper 10. Free improvisation: what is it, can it be taught, and what are the benefits?John Encarnacao, Brendan Smyly and Monica Brooks11. Performativity and interactivity: pre-paradigmatic performanceIan Stevenson 12. Expanded practice: facilitating the integration of visual media, theatricality and sound technology into music performanceIan Stevenson, John Encarnacao and Eleanor McPhee PART IIIStudent experiences 313. Play as a medium for active learning in vocal education at universityLotte Latukefu and Irina Verenikina Evaluating performance14. Disciplinary perspectives on music performance through the lens of assessment criteriaIan Stevenson15. Engaging music performance students in practice-led reflective essay writing and video/recording analysisEleanor McPhee and Diana BlomPART IVStudent experiences 416. Curriculum as catalyst: from rock guitarist to transcendent improvisationAdrian Barr and Diana BlomCONCLUSION17. Provocations for change in higher music educationGlen Carruthers

John Encarnacao lectures in music at Western Sydney University, Australia. His book, Punk Aesthetics and New Folk (2013/2016), is an alternate history of popular music argued through the analysis of recordings that span the period 1926–2011. He has also published essays on Throbbing Gristle, Courtney Barnett and Angela Carter. As a guitarist, singer, songwriter, composer and improviser he has some 30 releases to his credit.Diana Blom, Associate Professor of Music at Western Sydney University, has published on higher education music performance and preparing new music for performance. She is co-author (with Matthew Hindson and Damien Barbler) of Music Composition Toolbox (2007). A composer and keyboard player, she has co-curated several CDs for release.

Select Guide Rating

• 1. Teaching and evaluating music performance at university: a twenty-first century landscapeJohn Encarnacao and Diana BlomPART IIStudent experiences 12. Reassessing what we call music: investigating undergraduate music student response to avant-garde music through Annea Lockwood’s "Piano Burning"Diana Blom and Raymond Strickland Teaching approaches: Student collaboration3. All together now: semi-autonomous ensemble building through collaborationEleanor McPhee4. Transformational insights and the singing-self: investigating reflection and reflexivity in vocal and musical group learningDiane Hughes 5. The iPad Orkestra ensemble: creative and collaborative learningIan Stevenson and Diana BlomPART IIStudent experiences 2 6. Back to the future: a role for 1960s improvisatory scores in the 21st century undergraduate music performance programDiana Blom, Brendan Smyly and John EncarnacaoProfessional development 7. A professional development program to facilitate group music performance teachingAnnie MitchellTeaching approaches: performance practice8. Implementing group teaching in music performanceAnnie Mitchell9. Introducing first year music students to the choral experience: skills for lifelong enjoyment and for the portfolio careerNaomi Cooper 10. Free improvisation: what is it, can it be taught, and what are the benefits?John Encarnacao, Brendan Smyly and Monica Brooks11. Performativity and interactivity: pre-paradigmatic performanceIan Stevenson 12. Expanded practice: facilitating the integration of visual media, theatricality and sound technology into music performanceIan Stevenson, John Encarnacao and Eleanor McPhee PART IIIStudent experiences 313. Play as a medium for active learning in vocal education at universityLotte Latukefu and Irina Verenikina Evaluating performance14. Disciplinary perspectives on music performance through the lens of assessment criteriaIan Stevenson15. Engaging music performance students in practice-led reflective essay writing and video/recording analysisEleanor McPhee and Diana BlomPART IVStudent experiences 416. Curriculum as catalyst: from rock guitarist to transcendent improvisationAdrian Barr and Diana BlomCONCLUSION17. Provocations for change in higher music educationGlen Carruthers