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Little is currently known about the possible benefits of using networked technology to enhance ensemble performance. This study explored whether the introduction of specially devised technology-networked tablets using traditional music notation-to a primary school orchestra would enhance the experience of ensemble music. Particular emphasis was placed on how the technology could help children to overcome practical problems associated with ensemble playing for early-stage musicians (e.g., keeping in sync with other players), thereby leading to better engagement with the music and ultimately greater enjoyment. Findings from a thematic analysis of responses from a focus group with eight young orchestra players aged 9-11 years and from an interview with the orchestra conductor, together with indications from the statistical analysis of 28 orchestra participants' questionnaire responses, suggest that the technology did help to

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The benefits of ensemble performance are well recognized; notation supports group performance, but cuts in music education and changing musical cultures mean that notation is increasingly perceived as a barrier to entry. In an extended participatory design (PD) project, we co-designed and developed a software system for networked notation called Syncphonia with the aim of enhancing access to and experience of notation-based ensemble performance. In previous work, our formal evaluation and informal observations and feedback revealed a wide range of benefits. In this article, we are concerned with articulating the knowledge generated and insights gained through this extended PD process. To do so, we employ a framework for systematic reflection that has been designed to support investigation into the tacit knowledge generated in participatory design. Through this method, we focus inward and share three insights into the value of networked notation in contemporary musical cultures; we also look outward and articulate five approaches to PD with musical ensembles that might benefit others adopting this rich research method. A pluralistic and inclusive vision of notation is espoused and speculation is submitted that a dynamic, networked notation might ameliorate the boundaries between composing, improvising and performing to the benefit of all three.

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