The founding principles of JOS underpin founder William Longden’s practice based research “Inclusive Creative Practices As Means Towards Personal And Social Wellbeing”, for which he was awarded a doctorate in January 2020.
Abdallah, S., Michaelson, J., Shah, S., Stoll, L. and Marc, N. (2012). The Happy Planet Index. [online] London: The New Economic Foundation. Available at: http://b.3cdn.net/nefoundation/1c5606c88532a0033d_hpm6vi4wp.pdf [Accessed 9 Sep. 2012].
Aho, M. (2009). Almost like the real thing: How does the digital simulation of musical instruments influence musicianship?. Music Performance Research, 3(1), pp.22-35.
Ahrens, C. and Zedlacher, I. (1996). Technological Innovations in Nineteenth-Century Instrument Making and Their Consequences. The Musical Quarterly, 80(2), pp.332-340.
Aksentijevic, A. (2013). Phychopysical Effects of Auditory Gemma-band Entrainment: Evidence for Oscillatory Harmonic Binding. Doctor of Philosophy. Birkbeck College, University of London.
Armstrong, F. and Moore, M. (2004). Action research for inclusive education. London: RoutledgeFalmer.
Ashley, R. (2009). Musical improvisations in Hallam. In: S. Cross and M. Thaut, ed., The Oxford Handbook of Music Psychology, 1st ed. Oxford: Oxford University Press, pp.413-420.
Atalay, M. (2007). Kant’s Aesthetic Theory: Subjectivity vs. Universal Validity. Percipi, 1(1), pp.44-52.
Bailey, S. (2009). Towards and Ethic of Improvisation: Responsibility and Improvisation in Musical/Moral Life. In: Music and Morality. London: Institute for Musical Research.
Bailey, S. (2012). A Practice-led Investigation into Improvising Music in Contemporary Western Culture.. PhD. Canterbury Christ Church University.
Baker, F., Tamplin, J. and Kennelly, J. (2006). Music therapy methods in neurorehabilitation. London: J. Kingsley Publishers.
Ball, P. (2010). The music instinct. London: Bodley Head.
Ball, P. (2010). The music instinct. New York: Oxford University Press.
Beard, D. and Gloag, K. (2005). Musicology: The Key Concepts. London: Routledge.
Bickford, T. and Becker, J. (2010). Call and Response—Revisited (Ethnomusicology and Empiricism). Ethnomusicology, 54(2), pp.318-325.
Bijsterveld, K. (2004). Breaking into a World of Perfection: Innovation in Today’s Classical Musical Instruments. Social Studies of Science, 34(5), pp.649-674.
Bijsterveld, K. (2004). Breaking into a World of Perfection: Innovation in Today’s Classical Musical Instruments. Social Studies of Science, 34(5), pp.649-674.
Blackburn, P. (2008). Harry Partch and the Philosopher’s Tone. On the Future of Aesthetics, 3(1), pp.1-4.
Blackburn, P. (2008). Harry Patch and the Philosopher’s Tone. Hyperion, 3(1), pp.1-4.
Blacking, J. (1973). How musical is man?. Seattle: University of Washington Press.
Boal, A. (1992). Games for actors and non-actors. London: Routledge.
Born, G. (2010). For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn. Journal of the Royal Musical Association, 135(2), pp.205-243.
Bradstreet, S. (2004). Elements of Recovery: International learning and the Scottish context.. 1st ed. Glasgow: Scottish Recovery Network., pp.1-12.
Brincker, M. (2012). If the Motor System is No Mirror. In: N. Payette and Hardy-Vallee, ed., Connected Minds: Cognition and Interaction in the Social Worls, 1st ed. Newcastle: Cambridge Scholars Publishing, pp.158-182.
Broderick, S. (2011). Arts practices in unreasonable doubt? Reflections on understandings of arts practices in healthcare contexts. Arts & Health, 3(2), pp.95-109.
Brown, T. and Johnes, L. (2001). Action Research and Post Modernism. Buckingham: Open University Press.
Bucklow, S. (2009). The alchemy of paint. London: Marion Boyars.
Bungay, H., Clift, S. and Vella-Burrows, T. (2012). Enhancing the Health and Wellbeing of Children and Young People through Arts.. A feasibility Assessment for NHS Lambeth. Canterbury: Canterbury Christ University.
Burke, P. and Stets, J. (2009). Identity theory. Oxford: Oxford University Press.
BUUR, J. and MATTHEWS, B. (2008). PARTICIPATORY INNOVATION. International Journal of Innovation Management, 12(03), pp.255-273.
Calvo – Quiros, W. (2013). The Politics of Colour (Re) Significations: Chromophobia, Chromo – Eugenics, and the Epistemologies of Taste.Chicana/Latina Studies, [online] 13(1), pp.76 – 116. Available at:http://www.academia.edu/7898568/THE_POLITICS_OF_COLOR_RE_SIGNIFICATIONS_Chromophobia_Chromo-Eugenics_and_the_Epistemologies_of_Taste [Accessed 25 Jan. 2015].
Cambell, R. (2011). Music-making with Joy of Sound. PMDL Link, 24(1), pp.10-13.
Cardew, C., Cardew, C., Cardew, C. and Chant, M. (1971). Treatise handbook. London: Edition Peters.
Cardew, C., Cardew, C., Cardew, C. and Chant, M. (1971). Treatise handbook. London: Edition Peters.
Chesner, A. and Hahn, H. (2002). Creative advances in groupwork. London: Jessica Kingsley.
Clarkson, J. (2003). Inclusive design. London: Springer.
Coles, P. (1981). Manchester Hospitals’ Arts Project. London: Calouste Gulbenkian Foundation.
Cook, N. (2008). Beyond the notes. Nature, 453(7199), pp.1186-1187.
Costa, R. (2011). Free Musical Improvisation and the Philosophy of Gilles Deleuze. Perspectives of New Music, 49(1/2), pp.127-142.
Cottrell, L. (1966). Volume 2 The Pengiun Book of Lost Worlds. Harmondswordth: Penguin Books.
Cox, T. (2014). Sonic Wonderland. London: The Bodley Head.
Cox, T. (n.d.). The sound book.
Creative Alternatives, (2009). Arts in Prescription in Sefton. The Atkinson Lord Street Southport PR8 8DB: Creative Alternatives.
Creativecommons.org, (2015). About The Licenses – Creative Commons. [online] Available at: https://creativecommons.org/licenses/ [Accessed 14 Sep. 2012].
Cross, I. (2009). The nature of music and its evolution. In: S. Hallam, I. Cross and M. Thaut, ed., 1st ed. The Oxford Handbook of Music Psychology: Oxford University Press, pp.3-12.
Cross, I. and Tolbert, E. (2009). Music and meaning. In: S. Hallam, I. Cross and M. Thaut, ed., Oxford Handbook of Music and Psychology, 1st ed. Oxford: Oxford University Press, pp.24-30.
Crozier, R. (2007). Musical instruments for children. London: Hamlyn.
D’Angelo, J. (2010). Improvisation to school or not to school. [Blog] Sound Travels. Available at: http://www.soundtravels.co.uk/a-IMPROVISATION__TO_SCHOOL_OR_NOT_TO_SCHOOL-71.aspx [Accessed 7 May 2011].
Darder, A. (2015). Teaching as an Act of Love Reflections on Paulo Freire and His Contributions to Our Lives. [online] Academia.edu. Available at:http://www.academia.edu/4161397/Teaching_as_an_Act_of_Love_Reflections_on_Paulo_Freire_and_His_Contributions_to_Our_Lives [Accessed 7 Feb. 2015].
Darrow, A. (2008). Adaptations in the Classroom. General Music Today, 21(3), pp.32 – 34.
Dave, K. (2001). People, Objects and Meaning: Recent Work on the Study and Collection of Musical Instruments. The Galpin Society Journal, 54, pp.219-232.
Daveson, B., Magee, W., Crewe, L., Beaumont, G. and Kenealy, P. (2007). The music therapy assessment tool for low awareness states. Int J Therapy Rehab, 14(12), pp.544-549.
Davison, J. (2009). Movement and collaboration in musical performance. In: S. Hallam, I. Cross and M. Thaut, ed., The Oxford Handbook of Music and Psychology, 1st ed. Oxford: Oxford University Press, pp.364-373.
Davy, L. (2014). Philosophical Inclusive Design: Intellectual Disability and the Limits of Individual Autonomy in Moral and Political Theory. Hypatia, p.n/a-n/a.
De Vale, S. (1990). Issues in organology. Los Angeles: Ethnomusicology Publications, Dept. of Ethnomusicology and Systematic Musicology, University of California.
DeKay, M. (2011). Integral Theory of Design. London: Routledge.
DeNora, T. (1999). Music as a technology of the self. Poetics, 27(1), pp.31-56.
DeNora, T. and Adorno, T. (2003). After Adorno. Cambridge: Cambridge University Press.
Department of Health, (2007). Report of the Review of Arts and Health Working Group. [online] Department of Health, pp.1-23. Available at:http://webarchive.nationalarchives.gov.uk/20130107105354/http://www.dh.gov.uk/en/Publicationsandstatistics/Publications/PublicationsPolicyAndGuidance/DH_073590[Accessed 8 May 2013].
DeVale, S. (1990). Selected reports in ethnomusicology, vol. 8. Los Angeles: Department of Ethnomusicology and Systematic Musicology, University of California.
Devereux, P. (2001). Stone Age soundtracks. London: Vega.
Dolan, D., Sloboda, J., Jeldtoft Jensen, H., Cruts, B. and Feygelson, E. (2013). The improvisatory approach to classical music performance: An empirical investigation into its characteristics and impact. Music Performance Research, [online] 6, pp.1 – 38. Available at: http://mpr-online.net/Issues/Volume%206%20[2013]/MPR0073.pdf [Accessed 25 Jan. 2015].
Duffy, S. (2011). A Fair Society and the Limits of Personalisation. In: Tizard Memorial Lecture. [online] Sheffield: The Centre for Welfare Reform. Available at: http://www.centreforwelfarereform.org/uploads/attachment/261/a-fair-society-and-the-limits-of-personalisation.pdf [Accessed 1 Oct. 2012].
Dunningham, J. (2013). The Unbound Universe A voyage into a new reality.
Durga, S. (2004). Ethnomusicology. Delhi: B.R. Rhythms.
Ede, S. (2000). Strange and charmed. London: Calouste Gulbenkian Foundation.
Eliade, M. (1963). Myth and Reality. London: Greorge Allen & Unwin LTD.
Elliott, B. (1982). Guide to the selection of musical instruments with respect to physical ability and disability. Philadelphia, PA: LINC Resources, Inc.
Engel, C. and Singer, W. (2007). Better than Conscious? The Brain, the Psyche, Behavior and Instututions. St. Luis: Magnamusic.
Everitt, A. (1977). Joining In. An Investigation into Participatory Music. London: Calouste Gulbenkian Foundation.
Foulon, F. and Jedrzejewski, F. (2015). Instruments expérimentaux et sens haptique Experimental Instruments and Haptic meanings. [online] Academia.edu. Available at:http://www.academia.edu/7256301/Instruments_expérimentaux_et_sens_haptique_Experimental_Instruments_and_Haptic_meanings [Accessed 4 Nov. 2014].
Fraenkel, E. and DeVale, S. (1990). Organizing Organology. Selected Reports in Ethnomusicology, 8, pp.1-28.
Freire, P. (2000). Pedagogy of the oppressed. New York: Continuum.
Friedman, K. and Durling, D. (2000). Form and Structure of the Doctorate in Design. In: La Clusaz Conference. [online] Staffordshire: Staffordshire University Press, pp.369 – 376. Available at: http://www.academia.edu/6278875/Friedman._2000._Form_and_Structure_of_the_Doctorate_in_Design[Accessed 25 Jan. 2015].
Gabrielsson, A. and Lindstrom, E. (2010). The role of structure in the musical expression of emotions. In: P. Juslin and J. Sloboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: Oxford University Press, pp.367-368.
Garofalo, R. (2010). Politics, mediation, social context, and public use. In: P. Juslin and P. Loboda, ed., 1st ed. Handbook of Music and Emotion: Oxford, p.Oxford University Press.
Georgemckay.org, (2011). Community music | George McKay: professor, writer, musician. [online] Available at:http://georgemckay.org/jazz/community-music/ [Accessed 2 Apr. 2014].
Gergen, K. (1985). The social constructionist movement in modern psychology. American Psychologist, 40(3), pp.266-275.
Ghose, A. (1948). The synthesis of yoga. Madras: Sri Aurobindo Library.
Graham, H. (2010). To label the label? ‘Learning disability’ and exhibiting ‘critical proximity’. In: R. Sandell, J. Dodd and R. Garland-Thomson, ed.,Re-Presenting Disability. Activism and Agency in the Museum, 1st ed. London: Routledge, pp.115 – 129.
Graham, J. (2004). Communicating with the uncommunicative: music therapy with pre-verbal adults. Br J Learning Disab, 32(1), pp.24-29.
Graves, R. (1960). Greek Myths 1. London: Pelican Books.
Graves, R. (1960). Greek Myths 2. London: Pelican Books.
Green, D. (2015). From Poverty to Power » Why social entrepreneurship has become a distraction: it’s mainstream capitalism that needs to change. [online] Oxfamblogs.org. Available at: http://oxfamblogs.org/fp2p/why-social-entrepreneurship-has-become-a-distraction-its-mainstream-capitalism-that-needs-to-change/ [Accessed 20 Aug. 2014].
Green, L. (2008). Music, informal learning and the school: a new classroom pedagogy. Aldershot ;Burlington, VT: Ashgate.
Groĭs, B. (2010). Going public. Berlin: Sternberg Press.
Groopman, J. (2004). One Step Beyond. The Observer Magazine, pp.24-34.
Grunfeld, F. (1969). The Three Ecologies. New Formations, 8, pp.131-147.
Grunfeld, F. (n.d.). The art and times of the guitar: an illustrated history of guitars and guitarists.. [S.l.: s.n.
Hallam, S. (2010). Music education; the role of affect. In: P. Juslin and J. Loboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: Oxford University Press, pp.791-809.
Hamraie, A. (2012). Universal Design Research a New Materialist Practice. Disability Studies Quarterly, 32(4), pp.1-23.
Hanaford, M. (2015). Book Review:The Philosophy of Improvisation – Gary Peters. [Blog] https://www.academia.edu. Available at:http://columbia.academia.edu/MarcHannaford [Accessed 25 Jan. 2015].
Hanser, S. (2010). Music, Health and Wellbeing. In: P. Juslin and J. Loboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: Oxford University Press, pp.849-873.
Harvard Business Review, (2008). Strategy as a Wicked Problem. [online] Available at: https://hbr.org/2008/05/strategy-as-a-wicked-problem[Accessed 10 Sep. 2011].
Hodges, D. (1980). Handbook of music psychology. Lawrence, Ks (901 Kentucky, P.O. Box 610, Lawrence 66044): National Association for Music Therapy.
Hodges, D. (2003). Music Psychology and Music Education: What’s the connection?. Research Studies in Music Education, 21(1), pp.31-44.
Hopkin, B. (1996). Musical instrument design. Tucson, Ariz.: See Sharp Press.
Hox, J. (1997). From Theoretical Concept to Survey Question. Amsterdam: Wiley.
Huron, D. (2006). Sweet anticipation. Cambridge, Mass.: MIT Press.
Illich, I. (1971). Deschooling society. London: Marion Boyars.
Improvisation”, B. (2015). Book Review: Gary Peter’s “Philosophy of Improvisation”. [online] Academia.edu. Available at:http://www.academia.edu/1958830/Book_Review_Gary_Peters_Philosophy_of_Improvisation_ [Accessed 5 Feb. 2015].
Jardine, L. (2007). From the Outside.Dance and Creative Education in Marginalized Communities. Rio de Janeiro: Winston Churchill Memorial Trust.
Jupp, D., Ibn Ali, S. and Barahona, C. (2010). Measuring Empowerment? Ask them. Stockholm: Sida.
Juslin, P. and Sloboda, J. (2010). Handbook of music and emotion. Oxford: Oxford University Press.
Juslin, P. and Sloboda, J. (2010). The past, present, and future of music and emotion research. In: P. Juslin and J. Laboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: Oxford University Press, pp.934-946.
Kancewicz-Hoffman, N. and Ciula, A. ed., (2012). Musicology (Re-) Mapped. 1st ed. Strasbourg: European Science Foundation.
Kasliwal, S. (2001). Classical musical instruments. New Delhi: Rupa.
Koelsch, S., Siebel, W. and Frits, T. (2010). Functional Neuroimaging. In: P. Juslin and J. Sloboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: Oxford University Press, pp.313-346.
Kossak, S. (2007). Attunement: Embodied Transcendent Experience Explored through sound and Rhythmic Improvisation. PhD. UNION INSTITUTE AND UNIVERSITY.
Krishnaswami, S. (1971). Musical instruments of India. Boston: Crescendo Pub. Co.
Kuppers, P. (2009). Toward a Rhizomatic Model of Disability: Poetry, Performance, and Touch. Journal of Literary & Cultural Disability Studies, 3(3), pp.221-240.
LaBelle, B. (2006). Background noise. New York: Continuum International.
Lamont, A. (2009). Music in the school years. In: S. Hallam, S. Cross and M. Thaut, ed., The Oxford Handbook of Music Psychology, 1st ed. Oxford: Oxford University Press.
Lamp, C. and Keys, N. (1935). Can aptitude for specific instruments be predicted?. Journal of Educational Psychology, 26(8), pp.587-596.
Lee, Y., Bichard, J. and Coleman, R. (2008). Designing with users, how? Investigate users involvement tactics for effective inclusive design processes. In: International DMI Education Conference.
Legislation.gov.uk, (1995). Disability Discrimination Act 1995. [online] Available at: http://www.legislation.gov.uk/ukpga/1995/50/contents [Accessed 11 Apr. 2011].
Leins, A., Spintage, R. and Thaut, M. (2009). Music therapy in medical and neurological rehabilitation settings. In: S. Hallam, I. Cross and M. Thaut, ed., The Oxford Handbook of Music Psychology, 1st ed. Oxford: Oxford University Press, pp.526-527.
Lerner, N. and Straus, J. (2006). Sounding off. New York: Routledge.
Libin, L. (2000). Progress, Adaptation and the Evolution of Musical Instruments. Journal of the American Musical Instrument Society, 26, pp.187-213.
Sound art. New York, N.Y.: Rizzoli International Publications.
Longden, W. (2004). The Joy of Sound. Inclusive methodology for music based sessions.. MA. Metropolitan University.
Lubet, A. (2011). Music, disability, and society. Philadelphia: Temple University Press.
Magee, W. and Andrews, K. (2007). Multi-disciplinary perceptions of music therapy in complex neuro-rehabilitation. Int J Therapy Rehab, 14(2), pp.70-75.
Magee, W. and Burkland, K. (2008). Using electronic music technologies in music therapy. British Journal of Music Therapy, 22(1), pp.3-15.
Magee, W., Brumfitt, S., Freeman, M. and Davidson, J. (2006). The role of music therapy in an interdisciplinary approach to address functional communication in complex neuro-communication disorders: A case report. Disabil Rehabil, 28(19), pp.1221-1229.
Mansell, J. (2010). Raising our sights: services for adults with profound intellectual and multiple disabilities. Tizard Learning Disability Review, 15(3), pp.5-12.
Martin, R. and Austen, H. (1999). The Art of Integrative Thinking. Rotman Management, pp.6-11.
McKay, G. and Higham, B. (2012). Community music: History and current practice, its constructions of ‘community’, digital turns and future soundings, an Arts and Humanities Research Council research review. International Journal of Community Music, 5(1), pp.91-103.
Merli, P. (2002). Evaluating the social impact of participation in arts activities. International Journal of Cultural Policy, 8(1), pp.107-118.
Montagu, J. (2003). Why Ethno-organology?. In: Conference of the Galpin Society. [online] Available at:http://www.jeremymontagu.co.uk/ethnoorganology.pdf [Accessed 15 Apr. 2012].
Morrison, A. and Sevaldson, B. (2010). Getting Going. Research by Design. FORMakademisk, 3(1).
Nachmanovitch, S. (2006). Improvisation as a Tool for Investigating Reality. In: International Society for Improvised Music. [online] Ann Arbor, Michigan: University of Michigan, pp.1-15. Available at: http://www.improvisedmusic.org/writings/Nachmanovitch-AnnArbor-talk.pdf [Accessed 9 Feb. 2011].
National MWIA Collaborative (England), (2011). Mental Well-being impact Assessment. [online] National MWIA. Available at:http://www.apho.org.uk/resource/view.aspx?RID=70494 [Accessed 8 May 2012].
Needham, C. and Carr, S. (2009). Co-production – an emerging evidence base for adult social care transformation. London: Social Care Institute for Excellence.
Nercessian, A. (2002). Postmodernism and Globalisation in Ethnomusicology. London: Scarecrow Press.
Nind, M. (2005). Curriculum and pedagogy in inclusive education. London: RoutledgeFalmer.
Noble, D. and McDonagh, D. (2014). Social media and the future of medicine. Australasian Medical Journal, pp.423-426.
O’Kelly, J., James, L., Palaniappan, R., Taborin, J., Fachner, J. and Magee, W. (2013). Neurophysiological and Behavioral Responses to Music Therapy in Vegetative and Minimally Conscious States. Front. Hum. Neurosci., 7.
Ockelford, A., Welch, G., Zimmermann, S. and Himonides, E. (2005). ‘Sounds of intent’: Mapping, assessing and promoting the musical development of children with profound and multiple learning difficulties. International Congress Series, 1282, pp.898-902.
O’Kelly, J., Magee, W., Street, A., Fachner, J., Drake, A., Cahen, J., Särkämö, T., Ridder, H., Jungblut, M., Melhuish, R. and Taylor, D. (2014). Music Therapy Advances in Neuro-disability – Innovations in Research and Practice: Summary Report and Reflections on a Two-Day International Conference. Voices: A World Forum for Music Therapy, 14(1).
Pain, R. (2004). Social geography: participatory research. Progress in Human Geography, 28(5), pp.652-663.
Partch, H. (1974). Genesis of a music. New York: Da Capo Press.
Pavlicevic, M. (2003). Groups in music. London: Jessica Kingsley Publishers.
Pedgley, O. (2007). Capturing and analysing own design activity. Design Studies, 28(5), pp.463-483.
IASPM@Journal, 3(2), pp.33-47.
Peretz, I. (2006). The nature of music from a biological perspective. Cognition, 100(1), pp.1-32.
Phillips, K. (2008). Exploring research in music education and music therapy. New York: Oxford University Press.
Raghava Reddy, C. (2011). From Impairment to Disability and beyond. Sociological Bulletin, 60(2), pp.287-306.
Rahn, J. (1994). Perspectives on musical aesthetics. New York: W.W. Norton.
Rauscher, F. (2009). The impact of music instruction on other skills. In: S. Hallam, I. Cross and M. Thaut, ed., The Oxford Handbook of Music Psychology, 1st ed. Oxford: Oxford University Press, pp.245-251.
Rcpsych.ac.uk, (2015). CR175. [online] Available at: http://www.rcpsych.ac.uk/usefulresources/publications/collegereports/cr/cr175.aspx [Accessed 16 Feb. 2015].
Regelski, A. (2004). Social Theory and Music Education as Praxis. The ACT Journal, 3(3).
Reichertz, J. (2004). Abduction, Deduction and Induction in Qualitative Research. In: U. Flick, E. Kardoff and I. Steinke, ed., A Companion to Qualitative Research, 1st ed. London: Sage Publication Ltd, pp.299-309.
Rice, T. (2003). Time, Place, and Metaphor in Musical Experience and Ethnography. Ethnomusicology, 47(2), p.151.
Rice, T. (2003). Time, Place, and Metaphor in Musical Experience and Ethnography. Ethnomusicology, 47(2), p.151.
Rice, T. (2010). Call and Response. Disciplining Ethnomusicology: A call for a New Approach. Ethnomusicology, 54(2), pp.318-323.
Rice, T. (2010). Disciplining Ethnomusicology: A Call for a New Approach. Ethnomusicology, 54(2), pp.318-325.
Rickson, D. (2014). Stepping into the Spotlight: Collaborative Efforts towards Musical Participation. Approaches: Music Therapy and Special Education, [online] 6(2), pp.101 – 112. Available at:http://approaches.primarymusic.gr/approaches/journal/Approaches_6(2)_2014/6%20Approaches_6(2)2014_Rickson_Article.pdf
Rickson, D. (2014). Stepping into the Spotlight: Collaborative Efforts towards Musical Participation. Approaches: Music Therapy and Special Education, 6(2), pp.101-112.
Rix, J. (2005). Policy and power in inclusive education. London: RoutledgeFalmer.
Rogava, A. (2014). Disability and Self-Image: Reflection on Social Stigma and De-faced Body as Metaphor. Masters in Social and Cultural Anthropology. KU LEUVEN, Belgium.
Rutherford, (2013). Why art, design and communication are relevant for employment and citizenship. Online Journal of Art and Design, [online] 1(3), pp.54 – 67. Available at: http://ojad.emu.edu.tr/articles/13/135.pdf [Accessed 25 Jan. 2015].
Ryan, K. and LaBat, K. (2008). Addressing the challenges of patient-centred design. Australasian Medical Journal, pp.204-210.
Saguaro Seminar on Civic Engagement in America at Harvard University’s Kennedy School of Government., (2000). Better Together. Arts and Social Capital. [online] Cambridge: Saguaro Seminar. Available at: http://www.bettertogether.org/pdfs/Arts.pdf [Accessed 25 Jan. 2015].
Sajnani, N. (2012). Improvisation and art-based research. Journal of Applied Arts & Health, 3(1), pp.79-86.
Sarco-Thomas, M. (2009). Improvising in Ruyang: Community Art as Ecological Practice. Journal of Arts and Communities, 1(1), pp.45-68.
Sawyer, D. (1977). Vibrations. Cambridge: Cambridge University Press.
Schuler, D. and Namioka, A. (1993). Participatory Design: Principles and Practices. Participatory Design Journal, 36, pp.24-28.
Senior, P. and Croall, J. (1993). Helping to Heal. The Arts in Healthcare. London: Calouste Gulbenkian Foundation.
Sheehy, K. (2005). Ethics and research in inclusive education. London: RoutledgeFalmer.
Sidney De Haan, (2014). Cultural Value and Social Capital. Folkestone, Kent: Sidney De Haan.
Siedliecki, S. and Good, M. (2006). Effect of music on power, pain, depression and disability. J Adv Nurs, 54(5), pp.553-562.
Sloboda, J. (2011). The role of music in everyday life. In: P. Juslin and J. Sloboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: OUP Oxford, pp.432-477.
Small, C. (1996). Music, society, education. Hanover, NH: University Press of New England.
Small, C. (1998). Musicking. Hanover: University Press of New England.
Smith, Q. (2015). A Cosmological Argument for a Self-Caused Universe (The Great Debate). [online] Infidels.org. Available at:http://infidels.org/library/modern/quentin_smith/self-caused.html [Accessed 3 Jul. 2014].
Somerville, M. and King Jr., M. (2007). Participatory Co-Design: A Relationship Building Approach for Co-Creating Libraries of the Future. In: World Library and Information Congress. Durban: IFLA 73rd General Conference and Council.
Stevens, C. and Byron, T. (2009). Universals in music processing. In: S. Hallam, I. Cross and M. Thaut, ed., The Oxford Handbook of Music Psychology, 1st ed. Oxford: Oxford University Press, pp.14-21.
Stevens, J., Doyle, J. and Cooke, O. (2007). Search & reflect. [Twickenham, England]: Rockschool.
Storkerson, P. (2008). Design Research Quarterly Publication Information. Design Research Quarterly, 3(1).
Straus, J. (2011). Extraordinary measures. Oxford: Oxford University Press.
STREETER, E. (2010). Music for Children and Young People with Complex Needs by Adam Ockelford. Oxford: Oxford University Press, 2008. 320 pp., paperback, £16.50. ISBN: 0193223015. Brit. J. Music. Ed., 27(02), pp.208-209.
Stubington, J. (2012). Singing the land. Strawberry Hills, N.S.W.: Currency House.
Tagg, P. (2012). Caught on the Back Foot: epistemic inertia and visible music. Journal of the International Association for the study of Popular Music, 2(1-2), pp.3-18.
Thaut, C. (1999). Training Manual for Neurologic Music Therapy. Colorado: Colorado State University.
Thaut, M. (2005). Rhythm, music, and the brain. New York: Routledge.
Thaut, M. (2009). History and Research. In: S. Hallam, I. Cross and M. Thaut, ed., The Oxford Handbook of Music Psychology, 1st ed. Oxford: Oxford University Press, pp.552-557.
Thaut, M. and Wheeler, B. (2010). Music Therapy. In: P. Juslin and J. Sloboda, ed., Handbook of Music and Emotion, 1st ed. Oxford: Oxford University Press, pp.820-825.
The Young Foundation, (2015). Rowing against the tide: Making the case for community resilience – The Young Foundation. [online] Available at:http://youngfoundation.org/publications/rowing-against-the-tide-making-the-case-for-community-resilience/ [Accessed 15 Feb. 2015].
The Young Foundation, (2015). The wellbeing and resilience paradox – The Young Foundation. [online] Available at:http://youngfoundation.org/publications/the-wellbeing-and-resilience-paradox/ [Accessed 15 Feb. 2015].
Thomas, J. (2012). Empathic education in design: Strategies for healthcare practitioners?. Australasian Medical Journal, 5(5), pp.292-300.
Tomlinson, J. (2003). Globalisation and Cultural Identity. In: D. Held and A. McGrew, ed., 1st ed. Cambridge: Polity, pp.269-277.
Trudgen, R. (2000). Why warriors lie down & die. Darwin, NT: Aboriginal Resource & Development Services Inc.
Ubu.com, (2015). U B U W E B :: Cornelius Cardew – Towards an Ethic of Improvisation. [online] Available at:http://www.ubu.com/papers/cardew_ethics.html [Accessed 5 Feb. 2015].
Veblen, K. (2007). The many ways of community music. International Journal of Community Music, [online] 1(1), pp.5 – 21. Available at:http://www.intellectbooks.co.uk/MediaManager/Archive/IJCM/Volume%20A/03%20Veblan.pdf [Accessed 25 Jan. 2015].
Vogelpoel, N. and Gattenhof, S. (2013). Arts-Health intersections: Amodel of practice for consistency in the arts-health sector. Journal of Applied Arts & Health, 3(3), pp.259-274.
Wellington, J. (2005). Succeeding with your doctorate. London: Sage Publications.
Wikipedia, (n.d.). Plato. [online] Available at: http://en.wikipedia.org/wiki/Plato [Accessed 5 Feb. 2011].
Wilkins, J. and Eisenbraun, A. (2009). Humor Theories and the Physiological Benefits of Laughter. Holistic Nursing Practice, 23(6), pp.349-354.
Wilson, J. (2013). Of Hunting, Horns, and Heroes: A Brief History of Eâ™ Major before the Eroica. Journal of Musicological Research, 32(2-3), pp.163-182.
Yanki, L., Bichard, J. and Coleman, R. (2008). Designing with users, how? Investigating users’ involvement tactics for effective inclusive design process. London: Helen Hamlyn Centre, RCA.
