Imagine experiencing a musical moment from the past; a rich, sensory experience that combines the flickering light from candles, the exquisite performance of centuries-old music, and the warm acoustics of a performance space that now no longer exists. That is what our initial project, Space, Place, Sound, and Memory, set out to do. Working closely with game developers, musicologists, architectural historians, and acousticians, we set out to recreate the sounds and sensations of early music performance in virtual reality. We began by painstakingly piecing together two concerts of music from fragmentary sources and records, and then recorded historically-informed performances in an anechoic chamber, a space that is specifically designed to have no natural acoustic. Once complete, we constructed two virtual auditoria, digitally rebuilding St. Cecilia's Hall and the Chapel at Linlithgow Palace from detailed laser scans taken on site. Then, we brought the recordings and virtual spaces together using acoustic ray-tracing to recreate the sensations of hearing a historic performance. The key outcome of that work was the production of virtual models and software which allows users to don VR headsets and step into the past. For our follow-on project, we would like to capitalise on our partnership with Historic Environment Scotland (HES) and St. Cecilia's Hall to create three dedicated public access points, situated at St. Cecilia's Hall, Linlithgow Palace, and the Engine Shed, HES's digital innovation centre. By partnering with HES, we get the greatest possible reach for our VR software: in 2017/18 Linlithgow Palace attracted 87,254 visitors from across the world. We plan to work closely with the organisation to measure impact in terms of visitor engagement using HES's established KPIs. In addition to exploring the application of our acoustic modelling software in the heritage sector, we would like to use the follow-on project to explore the viability of our models and experience of anechoic recording in a commercial music production environment. Working with the Binchois Consort and the classical label Hyperion, we will arrange, record, and produce music linked, through detailed research, to Linlithgow Palalce, including lesser-known pieces from Scotland's famous Carvor Choirbook. Building on our VR production workflow, we will work with Hyperion's recording engineers to develop a commercial music production pipeline based around anechoic recordings, using the virtual acoustic models as a tool during production and post-production to situate those anechoic recordings within a historical acoustic space. This will be the first instance of a classical album recorded and produced entirely within VR. We will develop a companion VR app that allows end-users to download additional musical content and VR models to remix and audition the recordings in different historic spaces and at different points in time. In terms of impact, we will capture data about Hyperion's ability to reach and engage its audiences in new ways and to grow new audiences, and the commercial viability of the app as a new revenue stream through creating and packaging additional paid-for content. By the end of this phase of the project, we expect the following outputs: 1. Three public-facing VR installations located at high footfall cultural sites across the Scottish Central Belt; 2. A new commercial album, to be released on the Hyperion label, featuring the Binchois Consort performing the music of the Carvor Choirbook; 3. New commercial music workflows and production pipelines based around production and post-production using VR tools; 4. A user-friendly mobile app that allows end-users to remix audio in different spaces and at different points in time; 5. Datasets relating to the impact of the underlying research work on visitor engagement to cultural sites, and on the commercial operation of a record label specialising in early music production.

'JUPITER: Mozart in the 19th-Century Drawing Room' challenges our preconceptions about the way in which Mozart's music was consumed in the early 19th century in two important ways: it confronts us with arrangements for piano, flute, violin and 'cello (the 'JUPITER' ensemble) of Mozart's best-known symphonies, concertos and overtures and sets them in the performance context of the 19th-century drawing room. The project takes the knowledge that has been gained from the AHRC-funded 'Mozart's Ghosts' (three related projects), and engages with communities on which the original project had little or no opportunity to make any impact. The original research undertook a wide-ranging approach to questions of Mozart reception, and along the way identified a repertory of Mozart's large-scale concerted music (concertos, symphonies and overtures) that was arranged and published, almost exclusively in London, for the JUPITER ensemble. The music thus arranged was the basis of the ways in which these works were experienced in early 19th-century Britain, whether in luxurious townhouses or the provincial homes of the more modest gentry. 'JUPITER' takes the opportunity to reveal to beneficiaries and user-groups a musical culture that is completely unknown today, and to explain how Mozart's large-scale works were consumed outside the rarefied, and largely urban culture of the city concert. With a project team consisting of PI Everist, RA Hewlett and four artist-researchers, 'JUPITER' will take AHRC-funded research and transform the experience of a variety of beneficiaries. The original project made its impact via conventional verbal presentations, largely in response to requests to speak rather than as a coherent project of engagement; it uncovered significant amounts of material that revealed a key question that should be legitimately asked of early 19th-century musical culture: how was Mozart's large-scale concerted music performed beyond the simple piano arrangement? The answer emerged in the form of the 'JUPITER' ensemble. The ensemble takes its name from the edition of Mozart's last symphony that first used the now-unassailable title 'Jupiter'; the print was published in London in 1822 and the work arranged by Clementi for the JUPITER ensemble. A tiny number of these arrangements have been published in modern times, but the performance medium has yet to make any impact, a situation that the current project transforms. The key pathways to impact consist of a network of partnerships, a series of innovative and interactive workshops, together with audio and video engagements. All our concert promoters or festival managers have responsibilities both for developing audiences and for promoting public engagement with other bodies. A series of workshops will explore various routes to engage with communities that extend beyond those who consumed the textual outputs produced by the original research. To do this we will approach questions of comparison (between originals and arrangements), organology and cultural environment, as well as presenting introductions that characterise the current form of lecture recitals and similar events. While this part of the project will engage in depth with some of our user groups, a commercial CD recording will increase the reach of the impact, and a web-mounted video will further explain the nature of music-making and the audience in the early 19th-century drawing room to further groups of beneficiaries. We will monitor, evaluate and document the impact that the research makes. Our central tools are the anonymous questionnaire, the one-to-one interview, the CD and the video recording; these documents and their analysis will form the lasting legacy of the project, and will be mounted on its website to serve as materials and a prompt for other ensembles wishing to undertake similar work, or will be made commercially available.