The ‘Performance without Barriers’ research group (PwB), based at the Sonic Arts Research Centre at Queen’s University Belfast has been exploring the potential of sonic arts practices and music improvisation for enhancing social inclusion. To date, the group has focused primarily on research activities related to the inclusive potential of providing access to music improvisation for people with physical disabilities via the use of digital technologies. In this paper we discuss the critical thinking behind our work which draws together the social and connective functions of music making, the open and relational practice of music improvisation, and technological solutions utilising open, adaptable and accessible digital technologies. Three case studies, taking place between 2015 and 2018, are discussed. In this article we argue that activities in music improvisation have inclusive potential for opening constructive dialogues between performers, their instruments, and people of different backgrounds and abilities. Furthermore, as we have approached our research activities reflexively, we ponder the contradictions, dilemmas and points of learning we have discovered when engaging in inclusive improvisation work between university researchers and musicians with diverse abilities.

中文翻译：

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无障碍表演：使用包容性和可访问的数字乐器即兴创作

位于贝尔法斯特女王大学声波艺术研究中心的“无障碍表演”研究小组 (PwB) 一直在探索声波艺术实践和音乐即兴创作在增强社会包容性方面的潜力。迄今为止，该小组主要关注与通过使用数字技术为身体残障人士提供音乐即兴创作的包容性潜力相关的研究活动。在本文中，我们讨论了我们工作背后的批判性思维，这些思维将音乐制作的社会和连接功能、音乐即兴创作的开放性和相关性实践以及利用开放、适应性强和可访问的数字技术的技术解决方案结合在一起。讨论了发生在 2015 年至 2018 年之间的三个案例研究。在本文中，我们认为音乐即兴创作活动具有包容性潜力，可以在表演者、他们的乐器以及不同背景和能力的人之间展开建设性对话。此外，当我们反射性地进行研究活动时，我们会思考在大学研究人员和具有不同能力的音乐家之间进行包容性即兴创作时发现的矛盾、困境和学习要点。