Ellen Waterman
Biographic Data
| ID | 97402 |
|---|---|
| NAME | Ellen Waterman |
| GIVEN NAMES | Ellen |
| FAMILY NAME | Waterman |
| SIGNATURE | WATERMAN E |
| AFFILIATIONS | Carleton University |
| ORCID | 0000-0001-6521-4083 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Developing a Community-Engaged Research-Creation Methodology through the Resonance Project
In this article, we outline an emergent community-engaged research-creation (CE-RC) methodology that builds on principles from performative ethnography, community engagement, and care-full improvisation. CE-RC was developed through the Resonance Project (2020-23), in which we tested, reflected on, and refined our ideas in collaboration with musicians from marginalized communities. Drawing on both ethnographic data and analysis of collaborative ar…
Expanding the music circle through networked improvisation in an inclusive ensemble
People with disabilities are confronted with many barriers to participation in inclusive music making, including but not limited to challenges accessing appropriately adapted program curricula and pedagogical approaches. This article reports on a partnered research project ‘Expanding the Music Circle’ that brought professional orchestra musicians, special music educators and adults with profound disabilities together to make improvised music onli…
Revisiting Hungry Listening
This coauthored essay is an invited response to Dylan Robinson’s 2021 book Hungry Listening: Resonant Theory for Indigenous Sound Studies. The invitation built on his original act of holding space for settler engagement in the conclusion of the book, for which he had asked Waterman and Wong to contribute a dialogue. The authors reflect on prompts provided by Robinson and engage in an iterative, dialogical reflection on how Hungry Listening change…
Reflecting on Bodily Listening in Place: An Intercultural and Intersensory Research-Creation Project
This article discusses a research-creation process by three interdisciplinary artists who worked across hearing and deaf experience to reorient aurality in musicking through a process of inter-sensorial exploration. For most musicians listening is unquestionably oriented to the sensory regime of aurality. Increasingly, however, this orientation is being challenged through haptic, kinetic, and visual musicking by deaf musicians, and this inspired …
Introduction: The Performative Force of Practice-Based Research
As any artist, researcher, teacher, athlete, or home cook knows, one often discovers what is most enriching and affirming in one's practice when it is disrupted or curtailed in some manner.Likewise, adaptations made in response to such circumstances, however pragmatic, temporary, or instrumentalist, can frequently lead to a fundamental rethinking of some of the core concepts and tenets of a practice.For many of us, COVID-19 was just such a reckon…
Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument
Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (AUMI) brings together scholars, musicians, and family members of people with disabilities to collectively recount years of personal experiences, research, and perspectives on the societal and community impact of inclusive musical improvisation. One of the lesser-known projects of composer, improviser, and humanitarian, Pauline Oliveros (1932-2016), the AUMI wa…
Witnessing Music from the New Wilderness
In February 2014 the Western Front, a Vancouver-based artist-run centre, produced Music from the New Wilderness, a concert comprising four commissioned works that employed music, archival sound and images of the Thompson Nation, and soundscape recordings of the rainforest coast to explore the geopolitical and environmental history of rural British Columbia. I examine this event in a performance ethnography including close readings of two collabor…
Sound Escape: Sonic Geography Remembered and Imagined
Sound Escape: Sonic Geography Remembered and Imagined
Witnessing Music from the New Wilderness
In February 2014 the Western Front, a Vancouver-based artist-run centre, produced Music from the New Wilderness, a concert comprising four commissioned works that employed music, archival sound and images of the Thompson Nation, and soundscape recordings of the rainforest coast to explore the geopolitical and environmental history of rural British Columbia. I examine this event in a performance ethnography including close readings of two collabor…
Reflecting on Bodily Listening in Place: An Intercultural and Intersensory Research-Creation Project
This article discusses a research-creation process by three interdisciplinary artists who worked across hearing and deaf experience to reorient aurality in musicking through a process of inter-sensorial exploration. For most musicians listening is unquestionably oriented to the sensory regime of aurality. Increasingly, however, this orientation is being challenged through haptic, kinetic, and visual musicking by deaf musicians, and this inspired …
Introduction: The Performative Force of Practice-Based Research
As any artist, researcher, teacher, athlete, or home cook knows, one often discovers what is most enriching and affirming in one's practice when it is disrupted or curtailed in some manner.Likewise, adaptations made in response to such circumstances, however pragmatic, temporary, or instrumentalist, can frequently lead to a fundamental rethinking of some of the core concepts and tenets of a practice.For many of us, COVID-19 was just such a reckon…
Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument
Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument (AUMI) brings together scholars, musicians, and family members of people with disabilities to collectively recount years of personal experiences, research, and perspectives on the societal and community impact of inclusive musical improvisation. One of the lesser-known projects of composer, improviser, and humanitarian, Pauline Oliveros (1932-2016), the AUMI wa…
Revisiting Hungry Listening
This coauthored essay is an invited response to Dylan Robinson’s 2021 book Hungry Listening: Resonant Theory for Indigenous Sound Studies. The invitation built on his original act of holding space for settler engagement in the conclusion of the book, for which he had asked Waterman and Wong to contribute a dialogue. The authors reflect on prompts provided by Robinson and engage in an iterative, dialogical reflection on how Hungry Listening change…
Developing a Community-Engaged Research-Creation Methodology through the Resonance Project
In this article, we outline an emergent community-engaged research-creation (CE-RC) methodology that builds on principles from performative ethnography, community engagement, and care-full improvisation. CE-RC was developed through the Resonance Project (2020-23), in which we tested, reflected on, and refined our ideas in collaboration with musicians from marginalized communities. Drawing on both ethnographic data and analysis of collaborative ar…
Expanding the music circle through networked improvisation in an inclusive ensemble
People with disabilities are confronted with many barriers to participation in inclusive music making, including but not limited to challenges accessing appropriately adapted program curricula and pedagogical approaches. This article reports on a partnered research project ‘Expanding the Music Circle’ that brought professional orchestra musicians, special music educators and adults with profound disabilities together to make improvised music onli…
Diverse Musicological Studies (4 works) · Art (3 works) · Communication (3 works) · Improvisation (3 works) · Psychology (3 works) · Active listening (2 works) · Aesthetics (2 works) · Diverse Music Education Insights (2 works) · Music Technology and Sound Studies (2 works) · Performative utterance (2 works)