Townshend Studio Research Challenge G1: Clowes, Exarchos & Pratt
Researcher(s):
Publication Type: Abstract
Date Published:
Language: English
Licence: CC BY-NC-SA 4.0
DOI:
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Research Problem
The first of the C21MP ‘Research Challenges’ took place at the University of West London’s Townshend Studio – Pete Townshend’s unique collection of synthesisers and electronic musical instruments on loan to UWL. The Call for Participation stated:
- Come and spend a day and a half exploring this unique collection of instruments by working in a small group (up to 4 people) to address a particular research challenge. Your practice in the studio will be live-streamed on social media.
- We will invite participants to retrospectively edit the video to create a narrative that illuminates the research challenge and which will be published retrospectively.
- We have suggested two research challenges (see below) but you can also suggest your own – either as an individual or as a group.
- For the first day and a half of the ‘Research Challenge’ event (16th – 17th Oct 2025), participants will have access to the entire collection (subject to any maintenance issues) – although obviously we will need to organise a timetable of shared usage.
- On the second afternoon, engage in a ‘post-challenge’ public date which will form part of a unique Practice Research output combining peer discussion and review with documentation and analysis of the practical work.
Participants will have to commit to being present for both days of the event.
There are five proposed challenges:
- Reconstruction and Recontextualization: Consider possible avenues & methods in which pioneering twentieth-century electronic musical instruments may be re-interpreted, re-configured, manupulated, re-conducted conducted & otherwise interconnected so as to generate a distinctly contemporary sonic architecture of composition. What theoretical and practical approaches might be most appropriate to undertake such experiments? This group is now full
- Developing a 21st century approach to musical creativity based on Roy Ascott’s Groundcourse and the way his ideas about cybernetics and feedback loops can be used with these instruments. This group is now full
- Ab/using the performative design features, resulting gestural imperfections, and sonic signatures of early polysynths in the context of sample-based Hip Hop – particularly the Yamaha GX-1, Yamaha CS-80, and Prophet-10 polysynths
- Exploring ideas from electroacoustic composition using commercial electronic synthesisers from the Townshend collection
- Exploring how covers or re-creations of contemporary tunes (originals or covers) could be done with the vintage synths instead of software instruments
Send your proposals to simon.zagorski-thomas@uwl.ac.uk before 9 a.m. (UK time) on Monday 8th September 2025 stating which of the challenges you are interested in (you can select more than one but will only participate in one)
We will aim to invite successful applicants by mid-September so that groups can engage in some pre-production planning via email, Teams or Zoom and hit the ground running on the first day of the challenge. There will be technical assistance available for those that need guidance with the instruments.
* A few of the instruments are 21st Century re-makes or re-interpretations of 20th century originals. See the Townshend Studio website for details.
Researcher(s):
Publication Type: Research Problem
Date Published: 5th Aug 2025
Language: English
Licence: CC BY-NC-SA 4.0
DOI: No DOI – this was published as a call for participation to academic communities.
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Rationale / Hypothesis
This Rationale for the research approach started form as a proposal by Mike Exarchos (see below) in response to the original call. That proposal related to sample-based hip hop but given that other ideas mooted by Leon Clowes (for re-working some of his 1980s back catalogue of songs) and Dan Pratt (a proposal to work with Leah Kardos on re-arrangements of Kate Bush songs – Leah unfortunately couldn’t make the dates of the Challenge). Mike’s focus on the performance features of these instrument designs and how they could be incorporated into collage-like audio arrangements of micro-performances became the main inspiration for their work on two songs – one by Leon and one by Mike. This was distilled into the following:
What are the creative possibilities (and problems) of using the Townshend Studio instruments to replace, layer or rearrange other instruments in a popular music arrangement? (with a particular focus on groove and feel?)
Another alteration was that Mike’s proposal involved the Yamaha GX-1 plus the Sequential Circuit’s Prophet 10 and the Yamaha CS80. On the day, the GX-1 was replaced by the Synclavier for its 1980s drum sounds on Leon’s track.
However, the theoretical and conceptual basis relied heavily and implicitly on Mike’s original proposal:
Ab/using the performative design features, resulting gestural imperfections, and sonic signatures of early polysynths in the context of sample-based Hip Hop
What is it that lends phonographic segments from the past an aura of ‘magic’ for contemporary sample-based producers? And what variables do beat-makers attempt to recreate when constructing source content—infused in vintage signifiers—that facilitates creative forms of licence-free sample-based musicking?
The quest for retro-sonic signatures in Hip Hop (ab)uses a palette of era- and stylistically-inspired instrument sources, media choices, performative aesthetics, recording signal flows, and production workflows. Specifically, when vintage synthesisers are used in the ‘mix’, it becomes important to examine the impact of performative design features and the resulting gestural ‘imperfections’ on both the sonics and musical utterances of the produced content-for-sampling.
This research challenge will focus on three Townshend studio instruments in the context of sample-based Hip Hop: the Yamaha GX-1, Yamaha CS-80, and Prophet-10 polysynths. Their significance lies in the fact that they offer a case-study of synth-performability that doubles as a time-capsule in early design choices. The 1975 GX-1 features a multi-bed organ exterior, housing a groundbreaking and unthinkably powerful—for its time—multi-oscillator engine. The 1977 CS-80 represents the company’s attempt at a portable, commercial vessel for some of the polyphony and expressive power introduced by the GX-1. And the Prophet-5, released one year after the CS-80 (on the ashes of a rather unstable 1977 Prophet-10 design), became the polyphonic market leader—courtesy of its digitally storable presets and, arguably, setting a precedent of convenience over performability. Together, they present a fertile ‘groundcourse’ in poesis-aesthesis feedback loops.
The challenge will explore how the synths’ performability and unique sonic character affects ‘liveness’, perceived ‘magic’, and potential authenticity in the samples captured on the first day of the experiment; opening up the second-day public forum with questions about the impact of the practical work on sample-based outputs and hip-hop musicking as a whole.
Researcher(s):
Publication Type: Rationale / Hypothesis
Date Published:
Language: English
Licence: CC BY-NC-SA 4.0
DOI:
Click here to submit and read peer review
No peer review comments on this section yet.
Method
This protocol was the draft produced during the running of the Townshend Studio Research Challenge. It was mostly designed as a template following on from the procedures followed that could be developed into a subsequent protocols.io publication for future Group-Based In-Person Research Challenges. At the time of writing (Feb 2026) the protocol was not complete. This document was written with assistance from Claude AI.
Group-Based In-Person Practice Research Challenge Protocol
  Metadata
 Protocol Title:  Group-Based In-Person Practice Research Challenge: Collaborative Practice Exploration Through Intensive Workshop
 Protocol Version:  1.0 (Draft)
 Authors:  Simon Zagorski-Thomas (C21MP), [Additional authors TBA]
 Affiliation:  C21MP (21st Century Music Practice Virtual Research Centre)
 DOI:  [To be assigned upon protocols.io publication]
 License:  CC-BY 4.0
 Protocol Status:  In development
 Keywords:  practice research, group collaboration, intensive workshop, technique development, in-person collaboration, practice-based research, reflective practice, action research, music performance research, video documentation, collective learning, workshop methodology
 Linked Octopus Publications:Â
– Research Problem: [DOI TBA]
– Rationale/Hypothesis: [DOI TBA – participant proposals]
– Results/Sources: [DOI TBA – compiled video documentation]
– Analysis: [DOI TBA – group discussion and reflection]
  Abstract
This protocol establishes a structured method for group-based practice research conducted through an intensive in-person workshop. Groups of 2-6 music practitioners work together over approximately 1.5 days, collaboratively exploring a practice concept, technique, or approach defined by a Research Problem. Participants develop individual proposals beforehand, then engage in collective experimentation, documentation, and reflection. The workshop includes dedicated time for re-enacting or demonstrating discoveries for camera. The final half-day is reserved for group discussion and collaborative editing of documentation. The protocol produces a peer-reviewed, DOI-allocated video output via JISC Octopus, documenting both the exploratory process and analytical reflections. This method leverages real-time collaboration, immediate feedback, and collective knowledge-building to generate insights into group-based practice innovation.
  Research Context
 Purpose:  To investigate how collaborative in-person exploration, guided by individual proposals and group interaction, produces functional improvements, extensions, or refinements to music practitioner techniques, strategies, or approaches.
 Methodological Framework:Â
– Practice-based research via intensive workshop
– Real-time collaborative learning
– Reflective practice methodology
– Action research cycle: propose ‚Üà explore collectively ‚Üà document ‚Üà reflect ‚Üà edit
 Octopus Publication Chain Integration:Â
–   Research Problem : Set by coordinator (e.g., “How can guitarists develop extended techniques using alternative tuning?”)
–   Rationale/Hypothesis : Individual participant proposals (written independently before workshop)
–   Method : This protocol
–   Results/Sources : Video documentation of exploration and demonstrations
–   Analysis : Group discussion segment
–   Interpretation : Optional follow-up group event or individual publications
–   Applications/Implications : Optional completed works
  Guidelines
 For Participants:Â
– Come prepared with individual proposal but open to group direction
– Balance personal exploration with collective goals
– Document process through combination of continuous filming and staged demonstrations
– Contribute to group discussion and editing process
– Be open to unexpected directions and happy accidents
– Share equipment and space generously
 For Coordinators:Â
– Frame Research Problem clearly and appropriately for group work
– Secure adequate workshop space with good acoustics
– Set realistic timeline (minimum 1.5 days recommended)
– Facilitate without over-directing
– Ensure all participants have voice in discussion
– Provide technical support for filming and editing
– Call For Participants should specify venue, dates, and accommodation/travel arrangements
 Quality Indicators:Â
– Clear articulation of individual and collective goals
– Systematic exploration – although ‘happy accidents’ should also be documented, flagged and explained
– Visible development through workshop duration
– Evidence of genuine group interaction and mutual influence
– Honest reflection on group dynamics and outcomes
– Balance between individual contributions and collective discoveries
  Materials
   Venue Requirements:
– Rehearsal/practice space suitable for group size
– Good acoustics (or adaptable for the practice domain)
– Adequate natural and/or controllable artificial lighting
– Sufficient power outlets for equipment
– Breakout space for discussions
– Editing workspace with computers
– Secure storage for instruments/equipment overnight if multi-day
– Kitchen/refreshment facilities
– Accessible toilet facilities
   For Participants:
– Musical instrument(s) or relevant music practice tools
– Any specific materials referenced in individual proposals
– Laptop with video editing software (at least one per group)
– Headphones for editing
– Note-taking materials
– Personal refreshments/snacks
   For Coordinators:
 Essential:Â
– Multiple video recording devices (smartphones minimum, cameras preferred)
– Multiple tripods/stable mounts (minimum 2-3)
– External microphones (for improved audio quality)
– Adequate lighting equipment (if venue lighting insufficient)
– Large screen/monitor for group viewing
– Sufficient storage devices/cloud storage for footage
– Editing workstation(s) with suitable software
– File transfer/sharing system
– Backup power supplies/batteries
 Recommended:Â
– Multiple camera angles capability
– Audio recorder for discussion capture
– Whiteboards/flip charts for planning
– Markers/sticky notes for collaborative planning
– Printed copies of all participant proposals
– Clapper board or simple slate for marking takes
– Extension cables/power strips
– First aid kit
– Refreshments for participants
  Safety and Ethics
   Participant Wellbeing:
 Physical Safety:Â
– Do not attempt injury-risking techniques
– Ensure adequate breaks (minimum 15 minutes every 90 minutes)
– Monitor for fatigue in intensive workshop setting
– Adequate ventilation in practice space
– Safe storage of equipment and instruments
 Mental/Emotional Wellbeing:Â
– Right to withdraw at any stage
– Opt-out from specific activities without explanation
– Documented failures are valuable data—no pressure to only show success
– Manage group dynamics to ensure all voices heard
– Break if tensions arise; coordinator mediates if needed
– Contact coordinator privately if process becomes stressful
 Group Dynamics:Â
– Establish ground rules at outset (respect, listening, time-sharing)
– Monitor for domination or exclusion patterns
– Ensure equitable participation in decision-making
– Address conflicts constructively
   Data Protection:
– GDPR compliant data handling
– Video footage shared only as specified
– Participants control name/pseudonym use
– Right to request data deletion before publication
– All participants must consent to all footage used in final edit
   Intellectual Property:
– Individual contributions to collective work clearly attributed where possible
– Final video published CC-BY 4.0
– Group co-authorship on Octopus publications
– Individual proposal authorship retained
– Any works created may be performed/recorded by any participant with attribution
   Venue and Access:
– Accessibility requirements accommodated
– Adequate access for disabled participants
– Safe environment free from harassment
– Emergency procedures clearly communicated
– Appropriate insurance coverage in place
  Before Start
   Coordinators Complete (4-6 weeks before):
– [ ] Define and publish Research Problem on Octopus
– [ ] Create call for participants with venue, dates, logistics
– [ ] Secure suitable workshop venue
– [ ] Arrange accommodation if multi-day/participants travelling
– [ ] Set up equipment hire/borrowing if needed
– [ ] Prepare proposal template and submission guidelines
– [ ] Establish group size (2-6 participants per group)
– [ ] Brief participants on protocol and schedule
– [ ] Arrange catering/refreshments
– [ ] Create risk assessment for venue/activities
– [ ] Prepare emergency contact information
– [ ] Set up file storage system
– [ ] Test all video/audio equipment
– [ ] Create short title video for participants
   Participants Complete (1-2 weeks before):
– [ ] Write and submit individual proposal
– [ ] Read Research Problem publication thoroughly
– [ ] Read all other participants’ proposals (shared by coordinator)
– [ ] Confirm travel/accommodation arrangements
– [ ] Confirm any dietary requirements
– [ ] Bring required instruments/materials
– [ ] Install editing software if bringing own laptop
– [ ] Review complete protocol
– [ ] Confirm understanding of schedule
   Day Before Workshop:
– [ ] Coordinator: Set up venue, test equipment, arrange space
– [ ] Coordinator: Brief any additional facilitators/technicians
– [ ] Coordinator: Prepare sign-in sheet, consent forms, emergency contacts
– [ ] Participants: Travel to venue, settle accommodation if needed
– [ ] Optional: Informal meet-up evening before (no recording)
  Protocol Steps
 Note:  Timeline can be adapted but minimum 1.5 days recommended. Example schedule based on Day 1 (full day) + Day 2 (half day).
   PRE-WORKSHOP: Proposal Development
    Step 1: Individual Proposal Writing (Rationale/Hypothesis)
 Timeline:  1-2 weeks before workshop
 Objective:  Create theory-informed proposal for individual contribution to group exploration
 Proposal Structure (400-600 words):Â
- Personal Practice Goal  (75-100 words)
  – What you want to explore within the Research Problem
  – How it relates to your current practice
- Theoretical/Practical Context  (100-150 words)
  – Relevant frameworks or inspirations
  – Why this interests you
- Proposed Contribution to Group  (150-200 words)
  – What you might bring to collaborative exploration
  – How you imagine group work might develop this
  – What you hope to learn from others
- Resources/Requirements  (75-150 words)
  – Materials you’ll bring
  – Technical requirements
  – Ideas for group experimentation
 Submission:Â
– Submit to coordinator
– Becomes individual Rationale/Hypothesis in Octopus chain
– Coordinator shares all proposals with all participants before workshop
 Coordinator Action:Â
– Collect proposals
– Share all proposals with all participants
– Identify any resource/logistical needs
– Look for complementary or contrasting approaches
   DAY 1: COLLABORATIVE EXPLORATION
    Step 2: Workshop Opening and Setup
 Timeline:  Day 1, Morning (9:00-10:00)
 Suggested Activities:Â
2.1   Welcome and Introduction  (30 minutes)
– Coordinator welcome and health & safety briefing
– Participant introductions
– Quick instrument/practice domain familiarisation
– Review workshop schedule and expectations
– Establish group agreements (speaking time, breaks, decision-making)
– Emergency procedures and welfare contacts
2.2   Proposal Sharing Circle  (30 minutes)
– Each participant briefly presents their proposal (3-5 minutes each)
– Clarifying questions only (not critique)
– Identify common themes and divergences
– Begin thinking about collective directions
2.3 Â Â Technical SetupÂ
– Position cameras in space
– Test audio levels
– Assign documentation roles (may rotate)
– Establish “filming” vs “experimenting” signals
 Documentation:Â
– Film welcome and proposal sharing
– Capture initial reactions and planning discussion
    Step 3: Initial Collaborative Exploration
 Timeline:  Day 1, Morning to Early Afternoon (10:00-13:00)
 Objective:  Begin collective exploration of Research Problem through group experimentation
 Suggested Process:Â
3.1   First Exploration Session  (90 minutes)
– Begin working collectively with ideas from proposals
– Try different combinations and approaches
– Follow interesting directions as they emerge
– Document happy accidents
– Camera running continuously or with dedicated documenter
– Don’t worry about staging for camera yet
 Break: 15 minutes
3.2   Quick Review and Refocus  (15 minutes)
– Brief review of footage/notes from morning
– What’s emerging?
– What wants further exploration?
– Adjust direction for afternoon if needed
 Lunch Break: 60 minutes
    Step 4: Deeper Exploration and Documentation
 Timeline:  Day 1, Afternoon (14:00-18:00)
 Objective:  Deepen exploration and begin capturing key demonstrations
 Suggested Activities:Â
4.1   Focused Exploration Sessions  (2 x 75 minutes with break)
– Work with most promising directions from morning
– Experiment with variations
– Develop individual and collective techniques
– Begin noting moments to recreate for camera
– Alternate between:
 – Free exploration (camera may or may not record)
 – Demonstration mode (deliberately showing for camera)
 Break: 15 minutes between sessions
4.2   Demonstration Capture Session  (45 minutes)
– Group decides key discoveries to demonstrate
– Stage these for camera with:
 – Brief explanation of what’s being shown
 – Demonstration of technique/approach
 – Explanation of how group arrived at this
 – Individual and/or collective performance
– Multiple takes acceptable
– Clear marking of what each demonstration shows
Â
 Documentation Strategy:Â
– Continuous documentation of exploration process
– Deliberate staging of key discoveries
– Capture both successful and unsuccessful attempts
– Film group discussions about direction
– Note timestamps of significant moments
 End Day 1: 18:00
 Evening (Optional):Â
– Informal continuation if group energy permits
– Review day’s footage
– Make notes for Day 2
– No pressure—rest is valuable too
   DAY 2: REFLECTION AND COMPILATION
    Step 5: Morning Consolidation (if full 2-day format)
 Timeline:  Day 2, Morning (9:00-12:00) –  Optional if doing extended 2-day version
 Suggested Activities:Â
5.1   Reflection and Planning  (30 minutes)
– Review Day 1 discoveries
– Identify gaps in documentation
– Plan final exploration/demonstration session
5.2   Final Exploration  (90 minutes)
– Further develop most promising directions
– Re-stage any inadequately documented discoveries
– Capture individual reflections on process
– Create any final demonstrations needed
 Break: 15 minutes
5.3   Demonstration Completion  (45 minutes)
– Ensure all key elements documented
– Capture alternative angles if needed
– Film any missed explanations
 Lunch Break: 60 minutes (if 2-day format)
    Step 6: Group Discussion and Reflection
 Timeline:  Day 2, Early Afternoon (13:00-15:00 in 1.5-day format, or 14:00-16:00 in 2-day format)
 Objective:  Collaboratively analyse process and outcomes
 Suggested Structure:Â
6.1   Discussion Setup  (15 minutes)
– Review footage highlights together
– Each person notes key moments they want to reference
– Agree discussion themes/questions
– Set up cameras for discussion capture
– Decide on format (seated circle, standing in space, etc.)
6.2   Filmed Group Discussion  (90 minutes, to be edited down)
 Discussion Themes:Â
 Part 1: Process and Interpretation  (45 minutes)
– How did individual proposals transform in group context?
– What unexpected directions emerged?
– How did group dynamics shape exploration?
– What role did different participants play?
– How did happy accidents influence outcomes?
 Part 2: Outcomes and Analysis  (45 minutes)
– What did we actually discover/develop?
– How do we understand what happened?
– What worked well in the collaborative process?
– What was challenging?
– What insights about practice research methodology?
– What would we do differently?
 Facilitation Notes:Â
– Coordinator may facilitate or appoint participant facilitator
– Ensure all voices heard
– Reference specific moments from exploration
– Keep conversational, not formal
– Multiple cameras capture different angles
– Audio quality priority—may use dedicated recorder
 Break: 15 minutes
    Step 7: Collaborative Editing
 Timeline:  Day 2, Late Afternoon (15:15-18:00 in 1.5-day format)
 Objective:  Collectively edit documentation into coherent output
 Suggested Process:Â
7.1   Review and Selection  (60 minutes)
– Review all footage together
– Identify essential elements:
 – Proposal sharing/initial ideas
 – Key exploration moments
 – Demonstrations of discoveries
 – Happy accidents
 – Discussion highlights
– Make selection decisions collectively
– Assign rough timings to each section
7.2   Editing Work  (90+ minutes)
– Split into editing team(s) if equipment allows
– Create rough assembly:
 – Title video (provided by coordinator)
 – Introduction and proposals (5-10 min)
 – Exploration documentation (20-30 min)
 – Demonstrations of outcomes (10-20 min)
 – Group discussion (edited to 15-20 min)
– Add titles, annotations as needed
– Ensure audio levels consistent
– Review together and refine
 Target Output:Â
– Total length: 60-80 minutes (flexible based on group size and content)
– Format: MP4, 1080p
– Clear structure showing progression
– Balance between process and outcomes
 Note: Â
– May need to continue editing after workshop remotely
– Coordinator can provide technical support post-workshop
– Final edit agreed by all participants before publication
   POST-WORKSHOP: Publication Preparation
    Step 8: Finalising Video Documentation
 Timeline:  1-2 weeks post-workshop
 If editing incomplete during workshop:Â
– Nominated participant(s) complete edit
– Share draft with all participants for feedback
– Iterate based on group input
– Coordinator provides technical support if needed
 Final Video Specifications:Â
– Duration: 60-80 minutes (flexible based on group size)
– Format: MP4
– Resolution: 1080p
– Audio: Normalised levels
– Platform: Vimeo (for Octopus compliance)
– Includes coordinator-provided title video
– Includes acknowledgements and credits
 Quality Checklist:Â
– [ ] Shows initial individual proposals
– [ ] Documents collaborative exploration process
– [ ] Demonstrates key discoveries/techniques developed
– [ ] Includes happy accidents with explanation
– [ ] Features group discussion/analysis
– [ ] All participants appear and contribute
– [ ] Clear audio throughout
– [ ] Logical narrative structure
– [ ] Credits all participants appropriately
    Step 9: Octopus Publication Preparation
 Timeline:  2-4 weeks post-workshop
 Publications to Prepare:Â
9.1 Â Â Research ProblemÂ
– Already created by coordinator
– Defines the practice research question
– Provides context for group exploration
9.2 Â Â Rationale/HypothesisÂ
– Each participant’s individual proposal
– Published separately, authored individually
– Linked to Research Problem
– Shows diversity of approaches brought to group
9.3 Â Â MethodÂ
– This protocol (protocols.io)
– DOI from protocols.io
– Linked to Research Problem
– Authored by coordinator (+ participants as contributors)
9.4 Â Â Results/Sources of EvidenceÂ
– Upload final video to Vimeo
– Link in Octopus publication
– Describe workshop conditions:
 – Dates, location, duration
 – Participant names/pseudonyms
 – Equipment used
 – Any deviations from protocol
– Structure of video documentation
– Authored by all participants collectively
9.5 Â Â AnalysisÂ
– Reference group discussion segment from video
– May include additional written analysis if desired
– Collective reflections on methodology
– Authored by all participants collectively
9.6   Interpretation  (Optional)
– Follow-up individual or collective interpretation
– May synthesise findings if multiple groups worked on same Problem
– Consider implications for practice research methodology
– Compare group dynamics across different workshops
9.7   Applications/Implications  (Optional)
– Completed musical works created during workshop
– Performance documentation
– Pedagogical applications developed
– Techniques ready for wider adoption
– Authored by relevant creators
    Step 10: Peer Review Process
 Timeline:  Ongoing post-publication
 Octopus Review System:Â
– All publications open to post-publication review
– Reviews are themselves publications with DOIs
– Reviewers may assess:
 – Quality of group methodology
 – Documentation effectiveness
 – Analytical depth
 – Transferability of findings
 – Group dynamics management
 Responding to Reviews:Â
– Group decides collectively on response
– May reversion publications based on feedback
– New versions get new DOIs
– Original versions remain accessible
  Troubleshooting
   Common Challenges and Solutions
 Challenge:  Group struggles to find collective direction
 Solution:Â
– Return to Research Problem
– Try working in pairs first, then reconvene
– Coordinator facilitates without imposing direction
– Accept that divergent exploration is valid
– Document multiple parallel strands
 Challenge:  Dominant participant(s) overshadow others
 Solution:Â
– Structured turn-taking in discussions
– Breakout into smaller groups
– Coordinator intervention if needed
– Ensure editing includes all voices
– Address directly if pattern continues
 Challenge:  Technical recording failures
 Solution:Â
– Multiple recording devices as backup
– Regular checks of footage
– Willing to re-stage key moments
– Detailed note-taking as backup documentation
– Coordinator monitors technical quality throughout
 Challenge:  Insufficient time for editing
 Solution:Â
– Prioritise capturing discussion in workshop time
– Complete editing collaboratively online post-workshop
– Coordinator provides additional technical support
– Extend timeline if needed—quality over speed
 Challenge:  Disagreement about final edit
 Solution:Â
– All participants must approve final version
– Consider including multiple perspectives explicitly
– Coordinator mediates if needed
– May need additional discussion session
– Document disagreements as part of research process
 Challenge:  Participant fatigue/overload
 Solution:Â
– Enforce break schedule strictly
– Reduce intensity if needed
– Shorten workshop day
– Consider 2 full days instead of intensive 1.5
– Monitor energy levels and adjust
 Challenge:  Venue/acoustic problems
 Solution:Â
– Adapt practice to space constraints
– Use directional microphones
– Stage demonstrations in best acoustic spots
– Document constraints as part of context
– Change venue if fundamentally unsuitable
  Data Management
   During Workshop:
– Regular backup of footage to multiple locations
– Organised file naming system
– Secure storage of equipment overnight
– Clear labelling of all takes and demonstrations
– Shared access to footage for all participants
   Post-Workshop:
– Video on Vimeo with persistent URL
– Raw footage archived (coordinator and/or participants)
– Proposals archived with Octopus publications
– Editing files retained for potential revisioning
   Retention Policy:
– Published materials: Permanent (Octopus, protocols.io, Vimeo)
– Working files: Minimum 3 years post-publication
– Personal data: Deleted on request
– Raw footage: Participants’ discretion; coordinator retention optional
  Timeline Variations
   Intensive 1.5-Day Format (Minimum):
 Day 1: Â
– 9:00-18:00 Exploration and documentation
 Day 2:Â
– 9:00-12:00 Final exploration (optional)
– 13:00-18:00 Discussion and editing
   Standard 2-Day Format:
 Day 1:Â
– 9:00-18:00 Setup, exploration, initial documentation
 Day 2:Â
– 9:00-12:00 Continued exploration and demonstrations
– 13:00-16:00 Group discussion
– 16:00-19:00 Collaborative editing
   Extended 3-Day Format:
 Day 1:Â
– Full day exploration and experimentation
 Day 2:Â
– Morning: Continued exploration
– Afternoon: Staged demonstrations and documentation
 Day 3:Â
– Morning: Group discussion and reflection
– Afternoon: Collaborative editing with more refinement time
   Weekend Intensive:
 Saturday:Â
– Full day exploration (10:00-18:00)
 Sunday:Â
– Morning: Final exploration (10:00-13:00)
– Afternoon: Discussion and editing (14:00-18:00)
  Variations and Adaptations
   Different Group Sizes:
 Duos (2 participants):Â
– More intimate, focused collaboration
– Easier logistics and scheduling
– May produce more refined outcomes
– Less diversity of approaches
 Small Groups (3-4 participants):Â
– Ideal balance of diversity and manageability
– Rich interaction without overwhelming
– Easier to ensure all voices heard
 Larger Groups (5-6 participants):Â
– Maximum diversity of approaches
– May need sub-group work at times
– Requires stronger facilitation
– Richer potential for unexpected combinations
– Longer video output likely needed
   Multiple Simultaneous Groups:
– Same Research Problem, multiple groups
– Comparative analysis in Interpretation phase
– Shared final discussion across groups
– Requires more coordinator resources
– Enables broader evidence base
   Different Practice Domains:
– Performance practice
– Composition techniques
– Recording and production methods
– Music business practices
– Pedagogical approaches
– Mixed-domain groups can be very productive
   Remote/Hybrid Variations:
– If in-person impossible, adapt to intensive video conference sessions
– Requires different documentation approach
– Some spontaneity lost but still valuable
– Could combine in-person for some, remote for others
   Follow-Up Workshops:
– Same group reconvenes after interval
– Build on initial discoveries
– Document evolution over time
– Compare fresh vs experienced group dynamics
  Expected Outcomes and Impac
   Research Outputs:
– DOI-allocated publications in Octopus chain
– Peer-reviewed collaborative practice research
– Rich documentation of group process
– Individual proposal citations for all participants
   Knowledge Contributions:
– Documentation of collective practice innovation
– Insights into group dynamics in practice research
– Evidence of real-time collaborative development
– Models for intensive workshop methodology
– Understanding of how individual approaches combine
   Participant Benefits:
– Intensive focused practice development
– Real-time peer learning and feedback
– Community building and networking
– Publication credits and portfolio building
– Experience of collaborative research
– Potential collaborations beyond workshop
   Field Impact:
– Alternative to isolated practice research
– Models for practice research communities
– Evidence for value of collaborative learning
– Transferable workshop methodologies
– Building C21MP research community
  Health and Safety Considerations
   Coordinator Responsibilities:
– Venue risk assessment completed
– First aid provision
– Emergency contact information displayed
– Fire escape routes identified
– Adequate breaks enforced
– Monitor participant wellbeing
– Safeguarding policies if working with under-18s
   Participant Responsibilities:
– Disclose any relevant health conditions
– Bring necessary medications
– Respect own physical limits
– Take breaks when needed
– Alert coordinator to any concerns
   Equipment Safety:
– Secure cable management (trip hazards)
– Safe positioning of stands and equipment
– Appropriate electrical safety
– Instrument/equipment insurance considerations
– Secure overnight storage
  Citation and Attribution
 Citing This Protocol:Â
[Author names]. [Year]. Group-Based In-Person Practice Research Challenge: Collaborative Practice Exploration Through Intensive Workshop. protocols.io. https://dx.doi.org/[DOI]
 Citing Octopus Publications:Â
Follow Octopus citation format. Note: Results/Sources and Analysis will have multiple co-authors (all group participants).
 Acknowledging C21MP:Â
“This research was conducted as part of the C21MP (21st Century Music Practice Virtual Research Centre) Research Challenge programme.”
  Version History
 v1.0 (Draft)  – [Date]
– Initial protocol development
– Designed for groups of 2-6 participants
– Minimum 1.5-day intensive format
– Adaptable to various practice domains
  Contact and Support
 Protocol Coordinator:Â
Simon Zagorski-Thomas
C21MP
[Contact details]
 Workshop Logistics Support:Â
[Venue, travel, accommodation queries]
 Technical Support:Â
[Equipment, filming, editing assistance]
 Ethics and Wellbeing:Â
[Participant welfare concerns]
  Acknowledgements
This protocol developed by C21MP (21st Century Music Practice Virtual Research Centre) in collaboration with JISC Octopus for practice-based research publication.
Special thanks to participants in pilot workshops who helped refine this methodology.
 License:  CC-BY 4.0
 Protocol DOI:  [To be assigned]
 Last Updated:  [Date]
Researcher(s):
Publication Type: Method
Date Published: 10th Feb 2026
Language: English
Licence: CC BY-NC-SA 4.0
DOI: Not formally published before the completion of the Challenge.
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Results / Sources - Coming Soon
Researcher(s):
Publication Type: Results / Sources
Date Published:
Language: English
Licence: CC BY-NC-SA 4.0
DOI:
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Analysis
Researcher(s):
Publication Type: Analysis
Date Published:
Language: English
Licence: CC BY-NC-SA 4.0
DOI:
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Interpretation - Coming Soon
Researcher(s):
Publication Type: Interpretation
Date Published:
Language: English
Licence: CC BY-NC-SA 4.0
DOI:
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Applications / Implications - Coming Soon
Researcher(s):
Publication Type: Applications / Implications
Date Published:
Language: English
Licence: CC BY-NC-SA 4.0
DOI:
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