In this paper I outline an ethnographic and phenomenological enquiry into my experiences as both a performer of live electronic and electro-instrumental music, as well as my extensive background in working with new technologies in various therapeutic and person-centred artistic situations. This is in order to explore the sociocultural and technological contexts in which these activities take place. I propose that by understanding creative musical participation as a highly contextualised practice, we may discover that the greatest impact of rapidly developing technological resources is their ability to afford richly diverse, personalised, and embodied forms of music making. I argue that this is applicable over a wide range of musical communities.
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