This project investigates and develops online piano pedagogy in the broader context of online environments. Online music education technologies have emerged following the digital industrial revolution (Schwab 2016), and are proliferating, widening access to music education and transcending geographic boundaries. Platforms in current use can be broken down into the following dominant clusters in approximate order of their introduction to the market: Teleconferencing e.g. Skype, Facebook Live, etc. Asynchronous streaming e.g. Youtube, Vimeo etc. Asynchronous courses e.g. Udemy Gamified music apps e.g. Yousician, Synthesia, UltimateGuitar, Melodics etc. P2P networks e.g. Online Orchestra, LoLa Mixed reality smartglass apps e.g. Music Everywhere As telematic technology proliferates, 'music-making will take place increasingly in the new medium because general trends in communication run towards lower energy expenditure, higher content' (Chafe 2009:416). This research, surveys and tests the effectiveness of learning via this this 'content' with a view to developing new learning materials and guidelines for use by others. Piano will be used as a case study to delimit the project, yet new knowledge could be applied to other instruments and disciplines. The primary question to Objectives To comparitively review existing platforms, focusing on dominant clusters listed above. To undertake a source review of relevant approaches. To develop piano pedagogy in relation to selected platforms (including compositions and possible curricula) This research will assimilate all of the above objectives into a body of work that seeks to discover: 1. How online environments impact students/teachers in a social, cultural, economic and pedagogical context and how suitable are they for use. 2. Why teachers are choosing to teach online. 3. How current online teachers work, in both synchronous and asynchronous teaching styles and what are the new insights/knowledge are being generated by this use. 4. How online educators can be supported in adopting these new technologies. 5. How to develop example compositions/curricula that are well-suited to each platform.

'As a body-cultural phenomena running has eluded serious study in the humanities...' John Bale, Running Cultures, Routledge, 2004, p1\n\nFor 12 years my practice, located in the field of contemporary performance, has focused on ideas of travel, journey and context, often operating across extended timeframes; elements of duration and physical 'endurance' have been central to my work. My other areas of enquiry include performance for public space, the social impact of context-specific performance, and performance and narrative. My practice can be framed as a body-cultural enquiry: the deployment of the human body (often the performer's own) as a catalyst for - and site of - cultural phenomena. Performance art, live art, and specific parts of theatrical, visual and textual practice - contexts my work operates across - can be framed as body-cultural enquiries. \n\nThrough critical examination of my own practice and substantial exposure to the broader field, I have identified a key problematic that has been widely overlooked, perhaps due its apparent utilitarian yet complex nature. As a mode of practical enquiry that deploys the human body as its central site of investigation, the field is yet to undertake serious investigation into an activity that - many argue - defines both the cultural history and the present physical form of the human body: running, more specifically endurance running. The relevance of this problematic is thrown into sharp relief by the neighbouring fields of contemporary biology and anthropology, which for two decades have engaged in research on endurance running, resulting in a near complete rewriting of the socio-cultural place of running and the history of the human body; an event to which body-cultural enquiries in the arts are yet to seriously respond. \n\n'Endurance Running Hypothesis', as proposed by Bramble and Lieberman (University of Utah and Harvard University respectively), frames human survival and the evolution of the human body as products of our ability to run considerable distances, typically between twenty and three hundred miles. The hypothesis is linked to persistence hunting, in which prey is exhausted by being outrun. This is how the light Homo sapiens survived when the heavier Neanderthals did not. We are human, the hypothesis implies, because we ran, and we continue to inhabit the bodies of endurance runners.\n\nA critical question for contemporary performance practice emerges from this hypothesis: how does a body-based field of cultural enquiry, especially one such as mine that specifically approaches ideas of endurance and travel, respond to this framing of the human body as an endurance running body? The question is not whether endurance running can be discussed in terms of being 'art', rather what knowledge can be gained by using endurance running as a mode and site of performance-based research. \n\nThe programme takes my practical investigations as a model and operates across the schools of Arts and Humanities, Biomedical and Health Sciences, and Physical Sciences and Engineering at King's College London. Mentored by Professor of Theatre Alan Read the fellowship will establish creative dialogue between the specialisms of performance studies, literature, biology, biomechanical engineering and anatomical studies. Practical exploration will produce three professional performance outcomes. Discursive and analytical enquiries will inform and review the research through two papers and a seminar series located at the Anatomy Theatre & Museum - a live and 'digital' space for interdisciplinary performance research at King's. The programme's objective is to create a body of practical research on endurance running as a mode and site of performance enquiry that not only contributes to contemporary performance practice's study of endurance, but impacts across the public realm and related acad

Doctoral Training Partnerships: a range of postgraduate training is funded by the Research Councils. For information on current funding routes, see the common terminology at https://www.ukri.org/apply-for-funding/how-we-fund-studentships/. Training grants may be to one organisation or to a consortia of research organisations. This portal will show the lead organisation only.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

"The nation that destroys its soil destroys itself" Franklin D. Roosevelt Soil is a substance that is essential for our continued survival on the planet. Not only does it provide the medium from which most of our food is produced, but it is also serves a number of less well recognised functions. These include breaking down toxic substances, providing habitats for wildlife, supporting forestry, supplying raw materials and serving as a carbon sink. Healthy soils therefore hold the key to supplying our food and reducing carbon in the atmosphere. Because soil takes centuries to form it is considered a non-renewable resource. Along with many other non-renewable resources it is rapidly becoming despoiled and degraded and this has serious implications for our continued sustainability. Whilst considerable information is available about the importance of soil it is a subject that doesn't usually engage those that don't have a professional interest in it. It appears that the protection of soil is not considered a high priority amongst the general public. This research network sets out to address this issue by utilising the aesthetic, physical and emotional power of the arts to engage a wide audience in soil-related issues. It will bring together, for the first time in the UK, the leading soil organisations and the most significant artists who produce work on soil. This network will coincide with 'Soil Culture', a yearlong series of exhibitions, residencies, and educational events at the Centre for Contemporary Art and the Natural World (CCANW), based at Haldon Forest, near Exeter. It is anticipated that by sharing knowledge between the arts and sciences, alongside the Soil Culture programme, a strategy can be developed that will find new ways for raising awareness and promoting soil health. This will be achieved through a series of arts-based workshops and public events linked to the exhibitions at CCANW. Working in collaboration with the Soil Culture programme the research network will publish a 'toolkit' that explores the relationship between soil science and the arts, and promotes a cultural response to this vital issue.