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Since 2008, Baily has reached out to Afghanistan's shattered communities, using music to recuperate their musical culture and rebuild their sense of identity. Baily's work falls into three categories: education about Afghan music, in and outside Afghan communities; preservation of Afghan musical culture; and deploying musical practice to restore community identity and dignity. His post-2008 work builds on his pioneering research and the Afghanistan Music Unit, founded in 2002. His scholarship is rooted in research, practice, networks, and decades of experience, giving him unique insight into Afghanistan's music and its citizens at home and abroad. Through his interactions with musicians, educators and policy-makers, as well as his own public performances, films and educational work, his research has had a major and direct influence in sustaining Afghan culture, both in Afghanistan and in its worldwide diaspora in Pakistan, Iran, Australia, Germany and the USA, as well as the UK.
This case study demonstrates the application of Joe Bennett's research into strategies for quantifying, observing and analysing creative processes used by songwriters. Impact has been achieved through three researcher-practitioners at the University — Bennett himself, plus Davey Ray Moor and Richard Parfitt. The research has been disseminated outside of academia through the publicly accessible workshops at the UK Songwriting Festival and Burnsong, which have received national media coverage (BBC, Sunday Times) and attracted participants from all over the world. The research has also had an impact in the commercial music industry through Bennett's forensic musicology songwriting consultancy reports, which have been used by music publishers and law courts in the settlement of songwriter copyright disputes. Summaries of the research have been presented to a non-academic music audience via international print publication (Total Guitar Magazine). Practitioners connected with the research (Moor and Parfitt) have achieved top 10 hits and international music publication for non-academic audiences.
This study, based on Dr David Evans' work on C19th French poetry, encompasses a wide variety of schools outreach, recordings, concerts, workshops and public talks in Scotland and England, bringing practising musicians, schools and concert audiences together with academics and students, to explore the relationship of words to music, and song as a mode of artistic expression and intercultural exchange. It produced brand new compositions, brought little known works to a wider audience, offered new ways of listening and understanding challenging artworks, and inspired amateur composers to write their own material, based on fresh insights into the theory and practice of major artists.
Research by Professor Ian Cross and his co-workers in the Centre for Music and Science (CMS) investigates the evolutionary foundations of human musicality especially in respect of relationships between music and language. It has had impact in the domain of public engagement with science through frequent media representation and active outreach. It has also helped to shape public discourse concerning the nature of music and its role in contemporary society, as reflected in the assimilation of ideas deriving from CMS research into the treatment of music from scientific perspectives in print, broadcast and digital media.
The research has resulted in positive impacts for cultural life, civil society and education by: (1) generating new ways of thinking that influence creative practice beyond the academy; (2) creating, inspiring and supporting new forms of (primarily) artistic and social expression beyond the academy; (3) contributing to continuing personal and professional development; and (4) preserving, conserving, and interpreting cultural heritage for audiences external to the academy. A `spin-out' performing organisation — Hull Sinfonietta — has been formed, and several creative works have been produced including a music-film (Lear Settings) made in collaboration with local primary and secondary schools and freelance animators and film editors. The main non-academic beneficiaries of the research are the music professionals of Hull Sinfonietta, the school children, their teachers, freelance practitioners, and concertgoers.
The research community that has grown up around the Art of Record Production project is inextricably entwined with the professional and creative communities of record production practitioners and therefore the research permeates the practice and vice versa. The London College of Music (LCM) — University of West London (UWL), is at the heart of both of these communities, with staff immersed in both research and professional practice and is also engaging with the professional recording community through the Audio Engineering Society (AES). The highly vocational nature of the academic subject and the fact that research underpins the pedagogy means that LCM's research has a profound impact on professional practice. This comes from two directions. Firstly, this research has become central to pedagogy on record production in higher education around the world and is thus helping to shape the mind-set of the new wave of professional practitioners who are graduating from these courses. Secondly, the high level of engagement with the Art of Record Production projects by existing professionals, many of whom are now developing dual careers in academia, and their trade organisations means that they are engaging with, and even helping to shape, the research.
The brass band sector embodies a unique cultural, community and industrial history, and the sector continues to thrive. University of Salford researchers have informed this development, demonstrating the following impact:
With a series of three CDs, created by his ensemble The Dowland Project on the ECM label, Dr John Potter succeeded in bringing early vocal music that was formerly the preserve of the `classical' concert hall into the realm of contemporary practice, including jazz. The CDs and the public performances that followed them, influenced the creative practice of leading professional musicians from both sides of the jazz/classical divide, and directly inspired the creation of an innovative digital work by Ambrose Field (Being Dufay), which has itself received international acclaim through CD reviews and public performance in significant venues. Potter's work has played a significant part in the preservation and reinvigoration of musical heritage, while proposing and demonstrating a new creative approach to early music.
Nicola Dibben's research into the music of international pop icon Björk led to her creative role in Björk's ambitious multi-media project Biophilia. The Biophilia app is the first of a new format, a touchstone for developments in artist apps, sold in 200 countries, and described by the New York Times as "among the most creative, innovative and important new projects in popular culture" (2011). Dibben contributed musicological expertise and provided accompanying narrative to help create this internationally-renowned and pioneering artefact. Her research was pivotal to the development of public understanding of music and science, as evidenced by critics' use of Dibben's research, and feedback from teachers and students on associated educational activities. Her research also brought economic benefits to the music industry through the financial premium of products using her materials.
Stephen Rose's research on the sources and contexts of German music 1500-1750 has benefited amateur musicians, professional musicians and commercial concert-life. Building on his research in early music-printing, his digitisation project Early Music Online has provided musicians worldwide with digitised copies of over 10,000 pieces of early printed music previously available only to researchers visiting the British Library. His research on the contexts of German music has influenced concert programming at the highest international level, enhancing public awareness of the cultural meanings of the music they hear, and introducing them to unfamiliar repertory that puts one of the giants of western music—J. S. Bach—in historical context.