Access to this document was granted through an Emerald subscription provided by emerald-srm:305060 [] For AuthorsIf you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.comEmerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services.Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation. AbstractPurpose -This paper aims to provide an insight into the complexities of the identity work performed by independent coaches, based on an investigation into their "lived experiences". The emerging coaching industry has created opportunities for individuals wishing to pursue a career as independent executive/career coaches. Design/methodology/approach -This exploratory investigation was conducted using the principles of grounded theory, drawing on insights from "knowledgeable informants" (18 in total) gained through interviews and focus group discussion. Findings -Despite the attractiveness of pursuing an independent career, the findings surfaced a number of tensions in the way that independent coaches transform and perform their identity. One tension involves balancing notions of self-identity and "ideal work" with presenting a credible self to different client groups, the purchasers of their services. Research limitations/implications -As the research focused on a specific category of independent practitioners, more research is required to assess the generalizability of the findings to other categories of practitioners. Practical implications -A framework illuminating the processual nature of identity work among independent coaches is presented. This could be used to inform developmental conversations with aspiring independent coaches, or to support the content on formal coaching programmes. Originality/value -In drawing attention to the complexities of identity work performed by independent coaches, given the contingencies affecting their work, this research offers a different contribution to the coaching literature.

This essay considers the way and manner in which a musician and music educator approaches his or her work. It is suggested that anthropomorphic conceptions of music have endured in music education practice in the West. It is proposed that our view of the 'processes' of music making, music reception and music learning can be challenged and reconsidered. Heidegger's theory of art is used as a way of rethinking these processes, and of reconsidering our relational dimension with music. The unfolding of music in musicevents occurs as people 'work-with' music and interact with its dimensions in a way that is culturally and dialogically vibrant. Music education can thus become more responsive to changing 'modes of beings' in the moment.

The popularity of guitar has ensured that it has become a significant aspect of music in leisure. This chapter explores and reflects on the author’s personal leisure guitar experiences through six autoethnographic meditations. Themes from the meditations include tacit experiences, closeness, community, curiosity, and ethical dimensions associated with leisure guitar culture. These themes suggest an embodied view of music and a social connectedness with a living music culture. Using a Foucaultian lens, these themes are critically positioned alongside the experience of the neoliberal, schooled musical subject, who encounters expressions of power and subjectification in narrow, limiting terms. The chapter concludes by suggesting that the reflective process of autoethnography, an awareness and sensitivity of the body, and explorations of emergent subject positions are critical for a reconstituted music education and that leisure and music education can be envisaged together as synchronic forms of musical action.

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