1. Constructing Musical Identities During Collaborative Music Making On a Shared Touchable Table

2. Dr Robin Laney, Chris Dobbyn, Professor Dot Miell, Professor Karen Littleton, Mattia Schirosa The Open University

3. Overview Galleries and Musical Engagement The Application Methodology Results Conclusions

4. Galleries and Musical Engagement Proposed project with Milton Keynes Art Gallery How can music making help in reflecting on and responding to visual art?

5. Application Collaborative Groups Touchable Surface Pre-Composed Materials Layered Set of Loops per Player

6. Methodology Structured and Unstructured Task Ethnographic Observation & Discussion Sessions videoed (two cameras) Questionnaire

7. Groups 1)Experienced (score 16/20) 2)1 exp. 3 novices (score 8/20) 3)Mixed(score 9/20)

8. Results Claims of Identity –Use of Terminology –Roles as Musicians –Evaluation of Output –Process

9. Use of Terminology Should I stay with the Bass for the diminuendo (Group 1) I’m watching the tempos different people use. Or should I concentrate on my own tempos (Group 2) I haven’t understood what is the difference between finale and crescendo (Group 3)

10. Roles as Musicians That’s ** ** what happens with musicians. You know that they can play faster, but you don’t know what they can play. (Group 1) Are you counting us in (Group 2) I was getting the urge to press other peoples things (Group 3)

11. Evaluation of Output I think that this one is having a lot of impact on the overall sound (Group 1) This is fine. This is Cool. It’s Good (Group 2) I think our finishing was quite strong actually (Group 3)

12. Process Comments Shall I just come in with the Bass (Group 1) Or should I concentrate on my own tempos (Group 2) Let’ make it up on the hoof. That will be more fun (Group 3)

13. Conclusions Comments similar to other studies Setting facilitates group sense quickly Good collaborative tasks –Open Ended –Can’t make mistakes –Need to work together –Physical Layout (Participants can see/talk)