This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.

Abstract Here I employ techniques of anarchiving to explore the dynamics of notation, improvisatory performance, and analysis in Fluxus artist Ben Patterson's Variations for Double-Bass (1961).

Starting from the knowledge that the perception, experience and creation of music is always a bodily activity, the exposition explores the influential and intrusive power of musical ‘groove’. Whereas the concept of groove has been extensively discussed both as a general