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Live music making can be understood as an enactive process, whereby musicalexperiences are created through human action. This suggests that musical worldscoevolve with their agents through repeated sensorimotor interactions with theenvironment (where the music is being created), and at the same time cannot beseparated from their sociocultural contexts. This paper investigates this claimby exploring ways in which technology, physiology, and context are bound upwithin two different musical scenarios: live electronic musical performance;and person-centred arts applications of NIMEs.  In this paper I outline an ethnographic and phenomenological enquiry into myexperiences as both a performer of live electronic and electro-instrumentalmusic, as well as my extensive background in working with new technologies invarious therapeutic and person-centred artistic situations. This is in order toexplore the sociocultural and technological contexts in which these activitiestake place. I propose that by understanding creative musical participation as ahighly contextualised practice, we may discover that the greatest impact ofrapidly developing technological resources is their ability to afford richlydiverse, personalised, and embodied forms of music making. I argue that this isapplicable over a wide range of musical communities.

Enacting Musical Worlds: Common Approaches to using NIMEs within Performance and Person-Centred Arts Practices