*How do sound knowledge, experience and sensibilities translate from one generation to the next? What kind of exchange is taking place? How did children help to shape the fieldwork and artistic process?*

The theory articulated by Järviluoma, emphasizing the mediated and produced nature of the past through acts of remembering, aligns with the poignant quotes that follow. The assertion that “the past is always mediated and produced through acts of remembering, in which we present ourselves to ourselves and others” (2023, p. 12) underscores the dynamic and subjective nature of memory.

The quote by Francka that says: “People move on with the world, leaving traces behind. When you get a little older, there is a lot to remember,” encapsulates the inevitability of change and the profound impact it has on individuals as they age. The notion of leaving traces behind hints at the imprints people create throughout their lives, suggesting that these traces serve as markers of personal and collective history.

The subsequent quote from Marija, “Every one of us, old ones, carries at least one book in our heads; if you don't have anyone to tell it, it's sad because it dies with you,” amplifies the significance of personal narratives. It accentuates the idea that memories, akin to unwritten books, contain a wealth of experiences and insights. The sadness expressed underscores the potential loss when these stories remain untold, as they represent a unique perspective that fades away with the individual.

The final Marija’s quote, “No one laughs anymore, no one is in a good mood anymore, no one is interested in anything anymore, everyone is like in an exile, we are all rushing somewhere,” captures a sense of societal change and perhaps a lamentation about the loss of joy and connection.

It resonates with the idea that as people rush through life, the depth of engagement with the past, and by extension, with each other, may diminish.

In connecting these elements, one can see a narrative thread that weaves through the theory of mediated memory and the poignant expressions of individuals reflecting on their past. The interplay between personal recollections and societal changes adds layers of complexity to the understanding of memory as a dynamic and context-dependent phenomenon.

The theoretical framework proposed by Järviluoma, emphasizing the mediating role of memory in shaping individual and collective identity, finds

resonance in the dialogues and reflections presented in the subsequent quotes. The act of young people recounting their experiences to older family members or adults is therefore not merely a recounting of events; it is a process of self-presentation and self-production. The younger generation, in narrating their important paths, actively contributes to the ongoing construction of their identity (Järviluoma & Murray, 2023, pp. 12–13).

The observation that different generations harbour different memories is mirrored in the interactions between a school boy Mirko and Silva. Their discussion about sounds reveals not only the diverse auditory landscapes they experience but also the

<figure><img src="image_696.png" /><figcaption>Recording of the documentary-feature radio play “The Whisper of Memories”. Photo by Saška Rakef</figcaption></figure>

<figure><img src="image_697.png" /></figure>
personal significance attached to these sounds. After the initial uneasiness, they connect over the experience of star gazing and enjoying the sounds of meadows and nature, highlighting the nuanced nature of intergenerational communication.

The dialogue between Majda and a schoolgirl further underscores the temporal dimension of memory.

"We usually also hear the school bell, shouting, and running in the corridors, teachers shouting in other classes, and other students not listening. Even the children who answer can still hear, and the rustle of papers as they write the tests," the girl says.

Majda replies, "We were also restless. On top of that, the floor was not smooth; it was rough. Some pupils came to class with shoes on, and we moved the chairs. There was also shouting. We, children, haven't changed."

The girl's description of contemporary sounds in the school environment prompts Majda to remembrance about her own school days, emphasizing that, despite the temporal gap, certain elements of restlessness and commotion persist. The exchange serves as a poignant illustration of the interconnectedness of past and present, where the soundscape acts as a bridge between different epochs.

The difficulty faced by older interviewers when asking children about the sounds they hear reflects the challenge of bridging generational gaps. The inclination towards moralizing rather than genuine curiosity suggests a potential disconnect in understanding the contemporary experiences of younger generations. This aligns with the notion

that the past is not a static entity; it is subject to interpretation and influenced by the perspectives of different generations.

Marija's inquiry about how a young girl imagines the former times and her expressed desire to live in that era further encapsulate the interplay between memory, perception, and longing. The girl's belief that people were happier in the past and the preference for the bygone era highlight the subjective nature of nostalgia and the selective lens through which individuals view history.

In essence, the dialogues and reflections illustrate how memory and the sharing of experiences contribute to the ongoing construction of identity, intergenerational understanding, and the complex interplay between past and present.

## Conclusion and possibilities for future research

In our exploration of the intersection between people and their environment, a fundamental inquiry emerged: How do individuals derive meaning from their surroundings through the medium of sound? Specifically, we sought to unravel the intricate ways in which people establish connections with themselves and others through the creation of soundscapes, thereby nurturing their sonic sensibilities.

Through a comprehensive analysis of rich ethnographic material, generously provided by the collaborative efforts of children and their mentors, we gleaned some insights into the relational nature of sound. It became evident that individuals perceive and experience sound in relation to one another and the broader world. This sensory engagement, aptly termed "sensory remembering", unfolds as a collective and relational endeavour

(Järviluoma, 2023, p. 5). Participants weave connections among past and present experiences, environmental elements, their own identities, and the beings that may or may not be influenced – a concept encapsulated by Venäläinen as ‘commoning’ (Järviluoma, 2023, p. 5). The practices of remembering are deeply situated and embodied, prompting us to embrace the term ‘social remembering’ to underscore its dynamic and non-static nature, in contrast to the more traditional notions of social or collective memory.

However, as our exploration unfolded, numerous questions lingered, awaiting further investigation. The community's sonic evolution and the transformative nature of its soundscapes remained uncharted territory, prompting us to propose a longitudinal research initiative. This endeavour would delve into the changing nature of sound over the years and explore how the community, both as individuals and a collective, has undergone sonic transformations.

In the spirit of fostering a deeper connection and understanding among community members, we advocate for more transgenerational sound gatherings. Emphasizing the importance of intergenerational sociability, we believe that older members of the community stand to gain valuable insights from the youth (not just the other way around), as they collectively navigate the sonic landscapes of the present.

Furthermore, we propose the continuation of collaborative efforts with elementary school children to cultivate their sound sensibilities. A noteworthy suggestion involves the development and maintenance of dynamic sound maps – a living, transgenerational project that not only captures the evolving

<figure><img src="image_698.png" /></figure>
sonic identity of the community but also serves as a repository for dialects, old customs, beliefs, and both tangible and intangible heritage. This multifaceted approach aligns with our commitment to ongoing exploration, understanding, and preservation of the intricate tapestry woven by sound within our community.

## Post scriptum reflections and offerings

The participatory documentary radio play, titled "The Whisper of Memories" (Šepet spomina) caters to both children and adults. It is a collaborative endeavour involving children, elderly individuals, and radio creators – specifically, screenwriter Ana Obreza and director/concept designer Saška Rakef. This creative team crafted a sound map using narratives from both the past and present in the Loška Valley. The radio play made its debut on Slovene national radio on December 18th, 2023.

The Loška Valley community we collaborated with eagerly anticipated the premiere, and people were profoundly touched and moved by the narrative of the radio play in which they actively participated and contributed to its creation. According to the local librarian, Lea, all the children expressed a sense of pride and value knowing that their creative ventures were appreciated and included in the radio documentary play. This collective endeavour remarkably united the community, and the children listened to the radio play together in the classroom.

In January 2024, Lea will organize a listening session in the school library, providing an opportunity for all the older individuals who participated to come together for collective listening, thereby reinforcing the aural community practice. Our research team is enthusiastic about joining them in this celebration.

The participatory, collaborative, transgenerational, cross-cultural, and multidisciplinary (artistic and humanistic) research, initiated and carried out by the Slovene National Radio and, specifically, the B-AIR project, has proven to exert a profound influence on the emotional lives and sonic perceptions of both individuals and communities. It nurtures enduring connections, friendships, and bonds that reverberate through the sounds we collectively explored.

P.S. Meanwhile, sound artist Marta Medvešek crafted another sound documentary using material collected during our fieldwork, titled "Forest is" (Gozd je), which was broadcasted on the National Radio on December 20th, 2023.

<figure><img src="image_699.png" /><figcaption>Children sound art makers receiving certificates for their endeavours. Photo by Leonida Zalar</figcaption></figure>

<figure><img src="image_700.png" /></figure>
Sources and literature

Feld, S. (1982). *Sound and Sentiment: Birds, Weeping, Poetics and Song In Kaluli Expression*. University of Pennsylvania Press.

Grimfeder, E., Christian L., Sylvain H. & Sueur, J. (2022). What Do We Mean by »Soundscape«? A Functional Description. *Frontiers in Ecology and Evolution, 10*, 1–14.

Järviluoma, H. (2009). Soundscape and Social Memory in Skruv. In H. Järviluoma, M. Kytö, B. Truax, H. Uimonen, N. Vikman, & M. R. Schafer (Eds.), *Acoustic environments in change* (pp. 138–153). TAMK in co-operation with Simon Fraser University.

Järviluoma, H. & Murray, L. (2023). Cultural transformations and mediations revealed through transgenerational sensobiographies. In H. Järviluoma & L. Murray (Eds.) *Sensory Transformations: Environments, Technologies, Sensobiographies* (pp. 1–21). Routledge.

Kumar, R. (2022). Sounds Subjects and Hearing Cultures: Towards an Acoustic Ethnography. *Studies in Indian Politics, 10*(1), 138–144.

Lassiter, L. E. (2005). *The Chicago Guide to Collaborative Ethnography*. University of Chicago Press.

Uimonen, H. (2017). Acoustic Communities Represented: Sound Preferences In the Scottish Village of Dollar. In C. Guillebaud (Ed.), *Toward an Anthropology of Ambient Sound* (pp. 117–133). Routledge.

<figure><img src="image_701.png" /><figcaption>Recording of the documentary-feature radio play “The Whisper of Memories”. Photo by Saška Rakef</figcaption></figure>

<figure><img src="image_702.png" /></figure>
<figure><img src="image_703.png" /><figcaption>Community work for the recording of the documentary-feature radio play "The Whisper of Memories". Photo by Saška Rakef</figcaption></figure>

<figure><img src="image_704.png" /></figure>
# LIBRARY OF SOUNDS:
## Towards deep listening with and within the community

"The Whisper of Memories" (Šepet spomina) started as an experimental project created by Radio and Television Slovenia and facilitated by the team of professionals in sound art and music.

Members of the team working on "The Whisper of Memories" were Saška Rakef (radio director), Urban Gruden (sound engineer), Marta Medvešek (sound artist), Ana Obreza (musician and writer), Katarina Jovančič (musician and anthropologist), and Ana Čorić (community musician and music pedagogue).

The aim of the project was to map the sounds of the Loška Valley in Slovenia, through the intergenerational dialogue, with results coming in several formats: the documentary radio drama; the audio-portraits of the residents of Loška Dolina, in the form of recorded interviews edited and broadcasted in the local radio; and the radio miniatures inserted in the Echoes app (that uses geolocations where the maker can insert the sounds).

In terms of pedagogical outcomes, the project aim was to support school children in carrying out different aspects of the process: navigating the story and collecting legends from the area; learning how to record and do the interviews; making the interviews; writing a script; and sound design. The pedagogical

support to children was carried out in two ways: (1) through live encounters with children in school and the community; (2) in online workshops.

### Live encounters in the Elementary School "Stari Trg" as a nucleus of the community

School children and elderly people, as residents of Loška Dolina, came together in the Elementary School "Stari Trg" during five days between September 18th and 23rd 2023. On the first day, 15 children from 4th to 9th grade gathered in the school library. It is important to say that the school librarian, Mrs. Leonida Zalar, was the one who initiated the idea, linking the school with the Radio and Television Slovenia. In the background of this initiative are Mrs. Zalar's activities in the school library where children come for the books in the compulsory reading program, but also for extracurricular activities linked to the reading challenges under the Slovenian national program "The Reading Badge" (Bralna značka). Every year she organises school radio in the library as an improvised studio space where older children read excerpts from children's literature so that younger children can listen to it. In that process, Mrs. Zalar invites sound engineers from Radio and Television of Slovenia to help with the recording part. School radio workshops were also a stimulus for the school trip to visit the Radio

and Television Slovenia studios in Ljubljana. This is how the first contact happened, leading to the project "Whisper of Memories".

This chapter presents the process of collaborative creation of the radio drama by children and other residents of Loška Valley, professionals working there, the crew of Radio Slovenia and the members of the B-AIR project team. Facilitated by Saška Rakef, Ana Obreza and Marta Medvešek, the creation process followed after the three initial days when the focus was on children learning how to make interviews, map the sounds of the Loška Valley, record sounds, and use technology properly.

### VIGNETTE: Collaborative professionalism in the Križna Cave (Križna jama)

On the last day of the live-encounters, the whole professional team and the children went to the Križna Cave, the only naturally preserved cave in Slovenia open to tourists, known world-wide for its underground lakes. Although the children have already visited this cave, for them this was an opportunity to interview the local expert about it, as well as to approach the cave in a different way – through listening and recording the soundscape.

<figure><img src="image_705.png" /></figure>
In the thematic analysis (coding) of pedagogical processes, interactions and group dynamics, several important topics emerged: those of the liminal space, freedom, silence, and in particular of professional learning community – community of practice. Related to that, here is the progression of the quality of interview questions asked by children in the collaborative process of situated learning with professionals:

**Child to child:**

Which sounds do you hear in the cave?

Which sounds do you hear now, when we are
sailing in the lake in a boat?

**Radio director to child:**

Which sound is the most impressive for you?

Why?

Tadej, you are a musician. Do some sounds
remind you of music?

**Anthropologist to the cave expert:**

So, you said that you were playing in the cave
when you were a child?

("Yes, we played the research expedition game!"

We were finding bones and bringing them
outside. And we were listening to old people
telling scary stories.")

**Child to the cave expert:**

How do you feel when you go to the cave?

How would you describe the sound of the cave to
someone who has never been to the cave?

("It's so quiet that you can hear your heartbeats.")

Which sounds are still here, but could disappear
soon? It might be good to record them!

<figure><img src="image_706.png" /><figcaption>Graphic 1.
Example of the
collaborative
professionalism
in the sound-
based and
community-based
work with children</figcaption></figure>

<figure><img src="image_707.png" /></figure>
## Scenario writing workshop

The scenario writing workshop facilitated by Ana Obreza started in September 2023 in the Elementary School "Stari Trg" on the fourth day of live workshops, and continued in the next weeks both in live an online formats (since the facilitator lives near the school, so she was able to see the children in-person). The workshop was occasionally co-facilitated by Saška Rakef, the radio director, who had the bottom-up insight in the all artistic and pedagogical processes. From the radio director's insights, the collaborative process with children (facilitated both by Ana and Saška) was full of mutual listening, which resulted in a deeper approach to the individual and collective writing process and the text itself:

> "We developed different ways of approaching the text. Very perceptive and good materials were created. Ana and I decided to do all the exercises together with the children. So for each exercise 4 texts were created (everyone wrote their own text), then we debated what was interesting within each individual approach, in which ways it could be further developed.... I think that this approach became successful because the children would set off with their full imagination to describe the situation (in contrast to the beginning, when the texts were just a summary of documentary statements). Ana's and mine goal was to start writing as freely as possible, to explore different ways of playing with language and the sounds of language. After each meeting, the plan was for Ana to make a compilation of the four texts, combining parts from each text."

Saška Rakef, director and author of the concept

## Here are the exercises developed during the scenario writing workshops:

**E1:**

**Let's start from the legend:**

Facilitator started with the story from her childhood in Loška Valley, about a boy who didn't want to go in the field to pick potatoes, so the eagle lifted him up and carried him across the whole valley. The story was told to her by her grandfather. She gave the name to the boy – France.

**The story goes like this:**

France is an eleven-year-old boy. He likes to go to school, but there are days when he has to skip classes because of urgent work in the home farm. Such a day is today, when potatoes must urgently be planted— a long, endless field of potatoes. The brother steers the ox, the father plows, and he places the tubers in the ground. The monotonous work has neither end nor finish, and France immerses himself in the sounds that fill the spring air. The birds sing, the cuckoo crows, the woodpecker knocks. France tries to imitate the sounds and at the same time thinks about the birds – how nice it would be to have wings, to detach yourself from the muddy ground and take to the sky, to fly over the home fields and the village, to fly to the school and peek inside, to fly around the bell tower and visit good old mother in the cemetery, to fly across the valley long and wide, to

travel on the wings of the wind right there to the Father Snežnik (Snowy) mountain... In response to his thoughts, wings rustle next to him and an eagle descends to him. France doesn't hesitate and together they take to the air. They fly over Loška Valley, its landscapes change below them, and so do the seasons. As the seasons pass, they descend closer to the earth, watching what people do, what happens among them... as spring rises into summer, and summer dries up into autumn with rain, autumn turns into a blizzard and a silent winter... until warmer winds bring spring to the land again. Then the eagle drops France in the same place where it picked him up. There is no more potato field, no more ox, no brother to drive it and no father to plow. The field is now a meadow, and the carriageway next to it is an asphalted road on which a car or a rumbling tractor sometimes drives. The birds still sing, the cuckoo still crows, the woodpecker still knocks. France is now an old man, telling his grandson on the lawn stories about the old days when children wouldn't go to school if they were needed at home for work, and people picked potatoes in the field instead of buying them in the store.

<figure><img src="image_708.png" /></figure>
E2:

**Choose one memory and start from there:**

Which memories can you recall the most from the interviews you recorded with elderly people from your village? Pick one memory and get in the France's shoes. Imagine that you are looking at this memory from the eagle's wings (from the top, as neutral storyteller).

E3:

**How to fly in another scene?**

Let's see what happens next! Where are we flying next? Let's imagine and write a scene.

E4:

**Use your senses:**

Think about yourself either as an eagle or a boy. What's the weather like in the sky? Is it windy? Hot or cold? Use all your senses to describe the flight.

E5:

**Future:**

Think about the Loška Valley in something like 70 years (let's say in year 2097). France is very old now. What would the eagle see 70 years from now? How do the roads look like? Are there still cars on the road? The people and their clothes? What are they doing?

E6:

**Feelings:**

How do you feel when the eagle lifts you up in the air for the first time?

E7:

**Let's go deeper:**

Children were given transcripts of excerpts of the interviews about dormouse hunting ('puhanje'). Tasks:

**Step 1.** Remember the feelings of dormouse hunting – walking in the autumn forest in the evening; if you have no experience in dormouse hunting, try to immerse yourself in it with (the) power of your imagination. Write down your memories, feelings, and impressions from dormouse hunting and walking at night in the forest.

**Step 2.** Read the transcripts of the excerpts from the interviews. Choose one person's story – the one that appeals to you the most is the most interesting.

**Step 3.** In the way we tried in the today's workshop, write down the inner monologue of France (or the eagle) who observes the scene from above, OR of the person you have chosen (e.g. Janje). When writing, be inspired both by what the actual person said and by your own experiences and thoughts (what you wrote in Step 1).

**Step 4.** Include a few selected documentary excerpts in your writing, or quotes.

* You can also write in the way of poems or dialogues... find the way you enjoy the most!

E8:

**Can you imagine a different childhood?**

**1. Read** the passages carefully. Try to imagine little Pepco and little Peter. Are they diligent students or are they mischievous?

**2. Imagine** growing up in a time when schools still punished children with "donkey benches" (the bench where you have to sit when you weren't behaving well) and whipping and writing sentences dozens of times on the blackboard. What could you have done (alone or with your friends) to deserve punishment? What kind of punishment would such an act entail?

**3. Describe** the situation: it can be done as the inner monologue of a child who messed something up and is being punished, or as if France is observing and commenting on it. In any case, it is good to relive your own experiences of mischief and the punishment that followed. How did I feel when I realized that recklessness comes with punishment? Did I have a lump in my throat/did my tears pool/did my stomach tighten?

**4. Include** a selected short excerpt (a sentence or two) of the interview transcript in your text.

* If you are more challenged or enjoy writing in a dialogue or a poetic form – go ahead."

<figure><img src="image_709.png" /></figure>
## Sound editing workshop

The scenario writing workshop facilitated by Marta Medvešek – and followed by the researcher-pedagogue Ana Čorić and the radio director Saša Rakef – started in September 2023 in the Elementary School “Stari Trg” at the second day of live workshops. In the next two months the workshop continued online (on Zoom), since the facilitator lives abroad, so she was able to see the children only online. From the very first sound editing workshop in school, the team of professionals had an idea to make it as a participatory process that fosters self-directed learning and supports children’s authorship. The workshop had two participants, a 12-year-old and a 14-year-old child, who were present in the workshops for the entire duration of the project. There was another child interested in the workshop, who came once, but eventually decided to go to the scenario workshop. The initial idea of the sound editing workshop, discussed by the team of professionals, was to go in the direction of the sonic postcards. The aim was to enhance children’s imagination and make them think which parts of the stories/interviews are important to them, which sounds they would use in their sonic postcards, etc. The initial idea was also to put all recorded material and sound art made during the workshops in a sound map at the website, as acoustic heritage, as well as to insert sonic miniatures in the Echoes app in real locations.

The specificity of this workshop was the collaborative dimension of the process. The facilitator asked the researcher to propose and facilitate ideas for the exercises for the purpose of the exploration of possible levels of deep and concentrated listening. During the onsite and online workshops the process of peer-to-peer learning occurred. What could also be noticed is that children took the role of facilitators as ‘digital natives’ and native Slovenian speakers, showing the adult facilitators (as ‘digital immigrants’) advanced methods related to the technology they used, as well as teaching them Slovenian language (since they are both speaking Croatian).

<figure><img src="image_710.png" /><figcaption>Radio director Saška Rakef in dialogue with children-interviewers
Photo by Ana Čorić</figcaption></figure>

<figure><img src="image_711.png" /></figure>
E1:

**Make a soundstory:**

Make a short story using only sounds, without talking.

**Additional idea:**

***CONNECTING WITH THE SCENARIO WORKSHOP: Pick the part of a scenario or a story written by your friends in scenario workshop. Read the text and record your voice. Add soundscape with sounds from the Valley.

E2:

**Topic-based story:**

Pick a topic that emerged from all the interviews we made with elderly people – something that was often repeating and that you think it's important (e.g. forest, silence, school, childhood, etc.). Go through all of the interviews and choose parts that can describe this topic well. Make a miniture based on that topic.

E3:

**Building a sound image around the story:**

Pick one of the recorded interviews. Cut out the parts you don't need in Reaper (or other software). It is enough to leave only one phrase if you want to build a sound image around it. Are there any sounds in the interview that you don't need (e.g. a church bell)? If you need to remove some important parts of the speech, maybe you can find another solution for the story – and narrate part of it by yourself! What other sounds do you need for the sound image?

Listen to the interview carefully to detect the sounds that the speaker is talking about. Go out and listen to your surroundings (water, leaves, children playing, traffic, church bells, animals...). What sounds can you hear? Record the sounds with the Zoom (and headphones) in the Snežnik mountain, or elsewhere in Loška Valley. Try to stand still and record 5-10 minutes of each sound. Upload the sounds in the common folder.

E4:

**Let's dive into sound!**

Your miniature lasts for a minute. How can you make it 3 min long? Let's dive into the listening experience.

**Additional ideas:**

***LISTEN AND COPY: The task is to listen to some short radio play or a miniature made by the professional artist from the radio, and explore detailed work on sentences and sounds. How can we say more with less? This exercise helps diving deep into listening.

***SHOW US YOUR FAVOURITE PLACE: Think about your favourite place in the Valley. Write a short text about it to describe why it is so special. Read the text and add sounds to present the place to the listeners. The miniature will be on the Echoes app right in the location you're talking about!

To listen to the documentary radiodrama "The Whisper of Memories":

<figure><img src="image_712.png" /></figure>

To listen to observations of the professional team about the process:

<figure><img src="image_713.png" /></figure>

<figure><img src="image_714.png" /></figure>
EVALUATING AUDIO WORKS
FOR THE YOUNG AND
THE VULNERABLE

<figure><img src="image_715.png" /></figure>

<figure><img src="image_716.png" /></figure>
# EVALUATING AUDIO WORKS FOR THE YOUNG AND THE VULNERABLE

Evaluation of audio artistic works for babies, toddlers and vulnerable groups is still underdeveloped and scarce. In order to create space for interdisciplinary research of artists and scientists to create programs and audio works for babies, toddlers and vulnerable groups we are developing different methodologies for evaluation.

We evaluate how sound and music address babies, toddlers and adults who care for them and what the basic prerequisites of listening materials are that are helpful and meaningful for the child.

Evaluation methodology is based on observation research, expert groups' insights, interviews with teachers, and parents' observation. On the basis of our annotations the action research is conducted by artists and scientists in joint creative processes. In this interdisciplinary work of artists, psychologists, teachers and parents, the observation protocols, interview questions, and criteria for the interpretation of behaviour, play and drawing of babies, toddlers and vulnerable groups are made.

Understanding the effect of joint listening of babies and their caregivers is also within the main scope of evaluation. The analysis of audio works that help caregivers to better connect with their babies and toddlers and to build secure and attuned relationship is conducted.

A special part of evaluation is devoted to making audio art with children as performers in radiophonic theatre plays. The methodology used for this purpose is game-based research, as well as focus groups with the adult creators and performers of the radiophonic theatrical plays.

Special focus is placed on creating evaluation strategies for monitoring the sound-art production developed for hospitalised children, deaf and hard-of-hearing children and children with severe physical disabilities.

<figure><img src="image_717.png" /></figure>
Katarina Habe, Ph.D.

Assistant Professor at the Department of Music pedagogy
Academy of Music, University of Ljubljana, Slovenia

Katarina Zadnik, Ph.D.

Assistant Professor at the Department of Music Pedagogy
Academy of Music, University of Ljubljana, Slovenia

Lia Katarina Kompan Erzar, Ph.D.

Relational family therapist, clinical supervisor
Professor at the Department of Marriage and Family Therapy
and Psychology and Sociology of Religion,
Faculty of Theology, University of Ljubljana, Slovenia

Katarina.Habe@ag.uni-lj.si

katarina.zadnik@ag.uni-lj.si

lia.kompan@teof.uni-lj.si

# DEVELOPMENT AND TESTING OF A QUALITATIVE METHODOLOGY FOR THE EVALUATION OF ARTISTIC AUDIO WORKS FOR INFANTS AND TODDLERS

The subject of evaluating artistic radio works for the youngest is a significant challenge. Firstly, because it addresses the most fundamental questions about the needs of children and the meaningfulness of creating artistic radio works specifically for this population—essentially, the question of purpose. The second challenge is the selection of criteria for evaluation, and the subsequent challenge is to design an appropriate methodology for assessing the effects of audio works on infants and toddlers.

We approached these challenges on multiple levels simultaneously. Interdisciplinary teams of experts in psychology, neuroscience, music education, and didactics, as well as artists, were formed. They collaboratively developed artistic works and tested them in various listening contexts.

The central evaluation group consisted of three experts: a developmental psychologist and psychotherapist, an expert in the psychology of music and educational psychology, and an expert in music education and didactics. This group established the basic evaluation methodology based on consultations with a media psychologist and the editor of children's and youth programs at RTV Slovenia, who has extensive experience in systematically monitoring the responses of the youngest to media content. Before planning developmentally appropriate evaluation approaches for radio works for the youngest, we thoroughly examined foreign literature in this field and examples of best practices.

It is essential to emphasize that this field is poorly researched even internationally. Throughout the entire project, we continuously refined and modified the methodology based on experiences at each action

step of the project. Evaluation criteria and recommendations for creating radio works for the youngest were sharpened throughout the project, as diverse effects and potentials of this type of art were revealed.

**Research Objectives:** The goal of the action research was the same as that of the project: creating sound art for infants, toddlers, and vulnerable groups. The objectives included a theoretical overview of sensitizing children and adults through musical and sound art, and the importance of auditory sensory perception for the experience, development, and emotional regulation of the youngest. Additionally, they focused on researching sensitization through radio artistic works, developing an evaluation methodology, implementing the evaluation of artistic events, using evaluation results in the planning and creation of artistic events in the steps of action research, and presenting research results.

<figure><img src="image_718.png" /></figure>
To achieve these goals, we first sought theoretical foundations to understand the importance of sound and music, as well as methodology to determine the effects of sound and music on the development and experience of the youngest. Because the creation field for children under 3 years old is still very new and unexplored, with few existing works, there are also no established criteria for in-depth evaluation of these works and their contribution or impact on development and experience. Through the project, we aimed to shape a methodology for the evaluation and contribute new insights into the field of creating sound art for the youngest. We were particularly interested in the role of sound in a child's experience, and which characteristics of sound and music art have the greatest impact in this context.

We evaluated the resulting works step by step, developing evaluation methods for each work and group for which the work was created. Through ongoing evaluation of the effects of individual sound and radio artworks on listeners (infants, toddlers, and their caregivers), we determined which elements of these works most strongly influenced the attention and interest of infants and also triggered interest and attention from adults toward the child. Simultaneously, after each step of the research, we incorporated new findings into the planning and preparation of the next cycle of events for infants, toddlers, and vulnerable groups.

**Research Questions:** The following research questions were formulated:

1. How to continuously evaluate and plan the creation of sound-musical works for the youngest? (Action research, first step: webinars, collaboration with experts in music education and didactics, developmental psychology, psychology of music, neuroscience)

2. Which methodology to use in the evaluation of sound-musical works for the youngest? (Action research, second step: systematic observation)

3. Which factors encourage and support engagement in listening to sound-musical works? (Evaluation results, third step: sound and musical elements and length of musical works, interaction between children-parents (educators)-performers, physical space (external noise (Sonja Jeram), spatial equipment – kindergartens, radio, Old Power Plant))

<figure><img src="image_719.png" /><figcaption>Figure 1 (1/2)</figcaption></figure>

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<figure><img src="image_721.png" /><figcaption>Figure 1 (2/2)</figcaption></figure>

## Research Progress:

Based on the reviewed literature and in line with the nature of the project, which involved collaboration between creators and professional associates to develop new works for infants, toddlers, and vulnerable groups, we opted for qualitative research and an action research approach that allows **real-time adaptation to events and the development of practices that, through careful planning and evaluation, lead to the set goal: creating sound art for infants, toddlers, and vulnerable groups.**

The research unfolded in four steps:

**Step One:** Situation analysis and formulation of theoretical guidelines for creating artistic audio works for infants, toddlers, and vulnerable groups. The development of the creation and evaluation methodology began with the formation of a series of webinars based on the situation analysis. These webinars served as a starting point for the creators of artistic audio works and as a basis for selecting the evaluation methodology for researchers.

**Step Two:** Development and selection of the evaluation methodology and evaluation of radio works for pre-schoolers and vulnerable groups.

**Step Three:** Development of the evaluation methodology and evaluation of audio works for infants and vulnerable groups.

**Step Four:** Formulation of guidelines for creators and the creation of a set of protocols and methods for evaluating works for infants, toddlers, and vulnerable groups.

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## FIRST STEP OF THE RESEARCH:
The formation of theoretical and practical backgrounds for the evaluation

The initial step of our research involved reviewing the current state of research and practices in this field and examining relevant scientific literature. In the first action step of the research, our goal was to empower future creators of sound-musical works with content from the field of developmental psychology (cognitive and socio-emotional development of infants and toddlers), psychology of music (perception, cognition of sound and music in infants and toddlers, musical preferences of infants and toddlers, development of musical abilities in infants and toddlers), and music didactics (how to create optimal conditions for listening to sound-musical material, how to approach listening didactically, and which elements stimulate a child to attentive listening and participation).

Parents, educators, teachers, music educators, psychotherapists, and various other professionals interested in the topic joined the webinars along with the artistic creators for the youngest. The response to the webinars was significant and resonant. Below is a detailed description of the content of each webinar.

The content of the webinars was selected based on the expressed needs of creators and artists involved in the B-AIR project, who were creating new sound-musical content for the youngest. Eight webinars took place in March and April 2021, addressing various aspects of creating for infants and toddlers in an interdisciplinary manner. Each thematic block began with a theoretical framework related to the overarching topic, followed by interviews with experts in specific areas who illuminated practical aspects of the content.

1. **"Sound, Music, and the Brain"**: Dr. Anka Slašna, a cognitive scientist, introduced the basics of sound perception, addressing questions about defining sound, the production and processing of sound stimuli in the ear and brain, and the richer perception of music at higher volume.

2. **"Positive Effects of Sound and Music"**: Prof. Dr. Zvezdan Pirtošek, head of the Department of Neurology at the University Medical Center in Ljubljana, and Albinca Pesek, a music pedagogue and sound therapist, discussed practical aspects of the positive effects of sound and music in educational and health contexts.

3. **"Developmental Guidelines in Creating Artistic Encounters with Art for Children"**: Dr. Katarina Habe, a music psychologist, presented the main characteristics of cognitive and socio-emotional development in the preschool period, emphasizing the importance of considering these characteristics when creating content for the youngest.

4. **"Connecting Theory with Practice"**: A conversation with media psychologist MSc. Martina Peštaj and the artistic director of the Ljubljana Puppet Theatre, exploring various media and theatrical content for the youngest.

5. **"Listening and Responding to Sound and Music in Early Childhood"**: Dr. Katarina Zadnik discussed music pedagogical content, emphasizing that auditory perception is a physiological process that is a prerequisite for listening and a skill that needs to be learned.

6. **"Practical Aspects of Listening for 3-4-Year-Olds"**: Dr. Katarina Zadnik discussed practical aspects of listening with music educators Sara Smrekar and Alenka Podboj, focusing on the development of hearing and listening in the earliest childhood from the perspectives of Slovenian kindergartens and the internationally recognized educational concept of Edgar Willems.

7. **"Music Education Program for Infants and Toddlers"**: Ana Čorić, a Croatian music educator, discussed a music education program for infants and toddlers in a conversation with Vida Monestar from the Music Together organization.

8. **"Cognitive-Emotional Listening to Music in School"**: Ana Čorić hosted Dr. Valnea Žauhar and Dr. Sabina Vidulin to discuss their book on cognitive-emotional listening to music in schools, highlighting the importance of a cognitive-emotional approach for increasing attention, motivation, listening habits, and acceptance of artistic music.

The webinars comprehensively addressed the developmental and didactic aspects of auditory perception and cognition in the earliest stages of children's lives. The webinars were conducted in English, and the participants were diverse, including educators, teachers, doctors, parents, psychologists, inclusive educators, and artists. The feedback from participants was extremely positive, and the content served as guidelines for B-AIR artists on how to approach the creation of suitable sound-musical content for infants and toddlers.

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In this review, two fundamental areas of evaluating artistic works through children's responses have emerged:

* The area of attention

* The area of emotional response

From a methodological perspective in researching the experiences of such young children, the repertoire is not very extensive and primarily relies on:

* Observation

* Monitoring changes in behaviour

* Observations of adults caring for these children

For preschool children, additional methods for monitoring their experiences include:

* Drawing

* Behavioural expressions such as movement, vocalization, imitation of behaviour

* Play

* Limited speech (some existing studies have also been conducted through conversations with children, revealing to what extent and at what age children can articulate their experiences mentally).

## THE SECOND STEP OF THE RESEARCH:
Observation of the responses of older preschool children to radio fairy tales

Based on the state-of-the-art review, we found that the fundamental criteria for evaluating the impact of artistic works on a child's experience are monitoring the child's attention and their emotional-behavioural response. This is because preschool children typically experience things holistically, unconsciously process stimuli, and express behaviour rather than consciously processing and verbally articulating experiences.

Nevertheless, we were interested in what children could say or which words they would use to describe their listening experience, how attentive they would be to the content, and which part of the content would mentally engage them the most.

The key goal in the second research step was to check the consistency of children's responses to radio fairy tales through (1) verbal responses from children (interviews with children), based on their (2) behavioural responses monitored with observational protocols, and based on their (3) artistic expression (drawing children's drawings).

We formulated:

* Observational protocols for researchers/observers

* Interview questions for conversations with children

* Semi-structured interviews for conversations with the preschool teacher

* Instructions for creating an anecdotal record of observation for observers

* For the purpose of data triangulation, the listening sessions were recorded, and external observers also completed observation protocols

In the first period of the project, three new radio fairy tales were created for preschool children ("Fearless Fairytale" (Peter Svetina), "She Once Lived, She Still Lives" (Nataša Konc Lorenzutti), and "Pixie's First Superheroic Case" (Gaja Kos)). Each of them had a specific structure of basic elements (sound, speech, music) and also relationships between these elements (one element in the

foreground, others in the background; equal intertwining of elements; and transitioning from one to another, layering of sound levels, and different complexity of the sound landscape).

The goal of the second evaluation step was to find out how preschool children perceive radio content, radio fairy tales, and how they are invited to engage with art through them. We were interested in which sound-musical elements are crucial for arousing the interest, emotional response, and attention of preschool children. We wanted to determine which artistic elements of radio material allow children to have an aesthetic experience, enter into deeper artistic experiences of reality, and through that, develop a sense of security, sensitivity, and inner responsiveness.

In the evaluation part, 54 five-year-old children from three different kindergartens in Ljubljana were included. The fairy tales were played for the children twice over a two-week period. During the listening sessions, appropriately trained observers were present in each group, forming an anecdotal record of observation. After listening, the children drew the fairy tale and had an interview with the observer. The results were obtained through data triangulation; based on children's drawings, interviews with children, and anecdotal records of observers. A qualitative thematic content analysis of interview content, analysis of children's drawings, and analysis of children's behaviour observation were conducted.

We explored the child's attention through their overall posture during listening. We used the question: how much and/or which parts attract the child's attention, for how long, and in what way (what type of attention).

<figure><img src="image_724.png" /></figure>
When exploring the emotional experience of children listening, we were interested in the impact of the work on the emotional response of children or how the artistic experience affects the child, what emotions it evokes, and how deep/intense the child's response is.

Through this step of observation and research, another crucial and perhaps the most important area of research has emerged, which we were not previously attentive to:

The influence of radio works on the relationship between the child and their significant adult and the significance of the relationship between the child and the adult for the overall listening experience.

In Table 1, we present the obtained results:

<table><caption>Table 1: Illustration of a triangulation analysis of radio fairy tales in terms of sound/music, children's speech and behavioural reporting, and drawings</caption><thead><tr><td>FAIRY TALE</td><td>Content analysis of answers</td><td>Drawing analysis</td><td>Listening behaviour</td><td>Musical structure of the fairy tale</td><td>Connection of all data sources</td></tr></thead><tbody><tr><td>FEARLESS FAIRYTALE<br>(Peter Svetina)</td><td>Clearly recognized characters, clear details, the sound clearly attracts attention, the only story completely recalled by a child, the only one where children add characters not present in the fairy tale</td><td>Greatest variety between drawings, vivid colours, joy</td><td>Attentive listening, children sit, immersion in the story, interest, they repeat the sounds, get involved even with small movements in the rhythm</td><td>Single male narrator that changes tone and style depending on the content, music/sound equally intertwined with speech</td><td>Clear line of attention and understanding of content, good tracking of voice and sounds at the same time, sound helps to understand and follow the story, the child takes the story as a whole, emotionally interesting, the most attractive in terms of attention</td></tr><tr><td>SHE ONCE LIVED, SHE STILL LIVES<br>(Nataša Konč Lorenzutti)</td><td>Fewest mentions of persons, strong attention to music, songs, many details, many small pieces of content recalled but not the whole story, most generic answers</td><td>Drawing most limited in colours and characters, without a clear plot</td><td>Quiet listening, the children lie on their backs, sometimes they turn to their stomachs, they listen, they try to follow and understand (they are immersed, they occasionally indicate the rhythm with their feet)</td><td>A story in rhymes, each role is spoken by a different person including children, narrator explains the story. Sound elements are a constant basis for the action, major and minor scale melody, the sound of a flute</td><td>Sound and music take the leading role before speech, speech attracts attention only when it is really expressive and not backed by music, dialogues are stronger than just reading rhymes, the child takes the general flow of the narrative and some detail, emotionally soothing, in terms of attention the most demanding fairy tale</td></tr><tr><td>PIXIE'S FIRST SUPERHEROIC CASE<br>(Gaja Kos)</td><td>Clearly perceived persons, least detail retrieved, least attention to sound, electroacoustic musical phrase that repeats twice draws attention, least recalled content</td><td>Most vivid colours, girls draw girls, boys draw boys, most expressed joy</td><td>They sit and listen, attention is drawn to the main characters (a boy and a girl), attention is greatest at a loud sound that continues with electronic music, they respond with head movement and restlessness</td><td>Different voices for different people, also interpreted by children. The story is connected by the narrator, sound elements are the basis of the action, only a short electro-acoustic melody is prominent</td><td>Emotionally intense in terms of attention, electronic music overwhelms the child's attention, cognitively too demanding, musically very fluctuating, certain details strongly attract while the whole does not, the child does not follow the story, absorbs only parts of the story</td></tr></tbody></table>

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Based on the collected results, we have reached
the following important findings:

* Listening to audio content is challenging for children, and they need to be specially prepared for this activity, provided with a safe environment, and the presence of an adult to make them feel secure.

* Listening should take place in a specially prepared space at a time when children are adequately prepared and comfortable, allowing them to move freely and create their own space and way of listening. Preparation for listening and choosing the right time when children are not hungry or overly tired is also crucial.

* The sensitivity of children's perception of sound is extremely high. Sounds that are too intense and/or associated with electronic sounds from everyday surroundings can capture a child's attention to the extent that it hinders the listening experience, preventing exploration and focused, deep listening. Instead, they overshadow all other aspects of experience and lead to saturation.

* The dynamics, rhythm, and dialogical nature of a story are crucial for maintaining children's attention.

* Stories where individual elements are interwoven equally leave a stronger impression on a child's experience.

It is essential for the audio image to follow the prosody and rhythm of the human voice.

Regarding the selection of evaluation methods:

* Children up to 4 or 5 years old are verbally reserved and find it challenging to express their experiences. Therefore, the analysis of interviews primarily relied on qualitative indicators, such as whether the child responded to questions, whether the responses were in single words or sentences, the themes contained in the sentences, specific people or characters mentioned, the use of adjectives, and how the child named the content mentioned. Attention was also paid to whether the child understood the question (e.g. a question like "Did you hear the music?" to which the child responded, "No, there was no music but I heard the guitar").

* Children's drawings are a suitable form of expression of experience for children aged 3 and older.

* The written response of adults largely reflects children's experiences and contributes significantly to the evaluation.

* From the perspective of radio plays, it was found that works most appealing to children aged 4 and older are those with a well-integrated audio-verbal structure, a clear dramaturgical design, and a rhythm in the story's progression.

**Additional evaluations in the second step:**

After conducting the first research of the second step in our study, we set some additional questions and found answers in additional listening sessions in different contexts.

1. Is the age upon entering school (6-7 years) the threshold at which children can describe their experiences more accurately, or is this threshold even later (7 to 8 years)? The "Fearless Fairytale", which proved most suitable in the initial research, was listened to in the first grade of primary school as well. We were interested in how listening to the "Fearless Fairytale" would work in regard to this age group, i.e. whether it would be interesting for children aged 6 and 7 during the transition from symbolic/imagination to concrete logical development, and what would attract them to it. We also focused on the ability of children to describe their experiences. The research methodology remained the same so that we could compare the results with those obtained in kindergarten. We used protocols for observation, creating drawings after listening, and anecdotal records of observers and educators.

The main findings of the comparison between preschool and school children in listening to the "Fearless Fairytale" were differences in that first-grade children mentioned much more of the story content, described the course of events, and more distinctly responded to the humorous parts of the story (the whole class started laughing when the "tale fell on its bottom"). The concreteness of the events was in the foreground, but they did not understand the more complex message of the story, which was that when the tale comes to the hospital, the hospital turns into a fairytale world. There was also more fidgeting during listening since the children were sitting at desks and not on the floor, where they could have moved more freely.

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Based on the analysis of children's drawings, we can conclude that younger students, compared to kindergarten children, more effectively used the entire space on the drawing in the visual representation. All drawings included the use of various colours (more colours than in kindergarten children's drawings). The hospital is most often depicted on all the drawings, and other frequently appearing elements are the sun and the heart. The leading element in the drawings is the representation of the person taking care of the tale when it is in the hospital bed. The drawings reflect various emotions of joy, recognizable in the smile of the main character of the story.

2. Can we judge which radio fairy tales will have an equally powerful and positive effect on pre-school children based on the experience with the "Fearless Fairytale"? The play, based on the evaluation with preschool and school children, proved to be the most suitable for older pre-school children. Its outstanding radio features that most attracted older preschool children to the world of listening were: the rich musical and sound texture, balanced representation of voice, music, and sound, an interesting story, duration up to 10 minutes, and the prosodic and pleasant narrator's voice. Based on these criteria, we selected three additional works from a wide range of radio fairy tales for older preschool children in the Radio Slovenia archive, along with the "Fearless Fairytale". We also selected five radio plays published on the radio portal. In this way, we wanted to promote the idea of shared listening, i.e. children listening together with adults, and introducing listening as a special form of work with children in kindergarten. Regarding the listening framework, we prepared listening instructions, emphasizing that it is crucial to prepare children for listening, equip the listening

space appropriately, ensure comfortable seating, and allow free movement of children. We also recommended that adults listen together with children and be present throughout.

The evaluation of these four pieces in kindergartens throughout Slovenia was conducted as part of the first Slovenian radio play festival for children – “Listening Together”. We sent a specific selection of radio works to kindergartens and asked them to listen to the fairy tale with children and send us their feedback, drawings, or group art projects that children would draw after listening, either with or without the kindergarten teacher. The selection of radio works we made available included fairy tales for an older group of children, as well as radio plays for the youngest. These were the works:

* "Fearless Fairytale"

* "The Bear and the Hat"

* "Dragons in the Opera"

* "Thief's Banquet"

The data from these observations largely confirmed the findings obtained in the first round of research. Each observation by educators and the analysis of children's drawings illuminated some special factor or aspect.

The most common responses of educators to the idea of listening together were as follows:

* "Children were relaxed and listened with interest during listening."

* "Listening was an interesting experience for all of us."

* "Due to the great motivation of the children, we listened to the radio play for several days."

* "Children wanted to hear another story, so we agreed to repeat everything after lunch."

The idea excited them because they had not practiced this kind of listening before. They were surprised at how different children's behaviour is when listening together and how intense the effect of such listening is. Most educators were not familiar with radio plays and would include them in their daily work in the future. They noticed that listening to radio fairy tales is a very welcome activity that calms and excites children, helps them focus on a specific atmosphere, and contributes to the rhythm and calmness of activities within the kindergarten. In addition, they began to think more creatively about how to approach certain topics and promote activities required by the kindergarten curriculum. They also began to consider how to incorporate listening to radio fairy tales into the treatment of these topics and activities.

The response to all fairy tales for older children was positive and exciting. The stories appealed to children, who talked a lot about them, enthusiastically drew pictures, and were creative and imaginative in their creations. Most children wanted to listen to fairy tales again the next day. Ten older kindergarten groups participated in the event, one of which chose to listen to the "Fearless Fairytale" together.

"Based on the responses, it is evident that the teacher's reaction indicates that, in response to the children's engagement with listening, she herself began contemplating creatively enhancing the topic they were addressing within their curriculum by incorporating radio plays for children as a didactic tool:

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"The fairy tale excited them so much that we played it again the next day. We chose it because it was connected to the theme we were covering at that time (traffic safety and first aid). The children listened to the fairy tale with enjoyment and concentration, and they could share a lot about it."

Considering the reactions and results of these listening sessions, we can confirm the previously established criteria for creating radio plays for preschool children and the presentation of radio plays for children in kindergartens through a national radio project that connects different kindergartens and enables teachers to officially integrate this new method into their daily routine.

With this, we concluded the exploration and evaluation of radio plays for older preschool children. The results helped shape the foundation and basic guidelines for researching more advanced material: radio plays for infants and toddlers up to 3 years old.

## THE THIRD STEP OF THE RESEARCH:
Sound and radio art for infants and toddlers up to 3 years old

In this investigation, we based our research on the following assumptions:

a. For infants and children up to 3 years old, the presence of an adult who is attentive to the child, provides security, and introduces them to listening is crucial.

b. The listening space is essential, emphasizing the opportunity for free movement, touch, and participation in listening.

c. The youngest children primarily focus on interaction and dialogue with adults, responding strongly to the adult's intention and adapting to it.

d. The auditory composition should be suitable for the sensitivity of the youngest children in terms of frequency spectrum, rhythm, volume, tempo, and musical structure.

These assumptions were initially tested through pilot performances of radio works for infants and their parents or caregivers. We reinforced these findings through collective listening sessions of the works in the youngest kindergarten groups (as part of the Radio plays for children Festival – “Listening Together”) and shared listening experiences of radio plays for children with mothers and infants in their homes.

The highlight of the research was the comprehensive evaluation of symphonic works for infants, through which we finalized the guidelines for creating in this specific domain. Within these contexts, we conducted several evaluations of radio plays designed for the youngest group (1 to 3 years old) and symphonic works for infants, entering the third step of action research.

### 1. Live pilot performances of radio works for groups of infants, toddlers, and their parents

Evaluations of these works were initially conducted in live settings with groups of infants and toddlers along with their parents (live performances for parents and infants were held in the presence of a musical animator):

## At the B-AIR meeting in Cuneo, Italy

1. Live performance of the radio play “Musical Kitchen” in a library for a group of parents with infants, featuring a musical animator.

2. Live performance of the radio play “Chitter-Chatter” for a group of parents with infants.

## At the Radio Play Festival at Cukrarna, Ljubljana

1. Live performance of the radio play “Musical Kitchen” for a group of parents with infants, featuring an animator.

## At the Festival of Radio Plays for Infants and Toddlers – Listening Together

1. Live performance of the radio play “Chitter-Chatter” in a park near the Old Power Plant in Ljubljana.

2. Live performance of the radio play “Sea” at the Old Power Plant venue, featuring an animator and the use of puppets.

### 2. Listening to radio plays in kindergartens

A more extensive evaluation of these works took place as part of the festival of radio plays for babies and toddlers titled “Listening Together”, involving 30 kindergartens across Slovenia.

For younger groups, the only available radio plays specifically designed for infants and children up to 3 years old were “Musical Kitchen”, “Chitter-Chatter” and “Sea”.

In kindergartens, children listened to the selected works alongside their teachers. They were prepared for listening, choosing an appropriate time during the day for the radio play's content.

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RESULTS: Pilot evaluations of radio works for infants and parents:

1. Within the B-AIR Days in Cuneo, we performed "Musical Kitchen" (Library) and "Chitter-Chatter" (in the park) live. The researcher observed the performances and gathered feedback from some parents and other adults present.

"Musical Kitchen": The performance took place in a special space within the children's section of the library. Fifteen parents with children could attend. The floor was padded, allowing parents with infants and toddlers to comfortably settle. Before the performance, the researcher addressed them, providing instructions for listening. During the listening session, a musical artist was present, communicating with the children solely through gestures and mimicking individual sounds. Children could play with spoons arranged on the floor, move around, play with parents or the animator, or simply listen.

**Observations:** Most children listened with interest and deep attention, while parents were reserved in interacting with their children, mainly due to the presence of unfamiliar adults (research team). After the first listening, they expressed a desire to hear the entire radio play again, without the presence of the researcher, animator, and other adults, and they became even more playful with their children.

Children played with spoons, showed interest in instruments, and felt secure in the space.

Parental responses: "Interesting experience, too short."

"Chitter-Chatter": After the "Musical Kitchen", parents with children went to a nearby park, where they were joined by other parents who were unable to attend the performance due to limited space in the library. In the park, 40 pairs of parents and children gathered, each equipped with a small speaker playing the radio play "Chitter-Chatter", and they set off for a walk. Each pair chose their direction, activities, and actions. The observer monitored and documented the events. The most interesting observations were as follows:

* Children proudly carried their speakers, joyfully listening. Some spontaneously imitated sounds, shifting their attention outward to trees, meadows, bird singing; some touched tree branches, trunks, leaves, and one child lay under a tree and fell asleep.

* Initially, they only listened and chose their path through the park. When they heard familiar sounds, they repeated them with the recording, singing along.

* Parents easily focused on their child and the walk, each pair developed a unique relationship, choosing their path through the park.

* The atmosphere of listening and the entire event was filled with joy, interest, deep concentration, and calmness; none of the children were restless or cried.

After the performance, parents made the following statements: "I would like to have these plays recorded to listen to them in the car during drives when the child is restless and bored." "Excellent, very fun and interesting; my child enjoyed it, and so did I." "The child was attentive throughout."

<figure><img src="image_729.png" /><figcaption>Radio director Saška Rakef in dialogue with children-interviewers. Photo by Ana Čorić</figcaption></figure>

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2. During the radio festival, we organized a live "Musical Kitchen" where a musician, while listening to the musical performance, produced individual sounds. Children had the opportunity to hold a spoon, touch various containers, and engage with the music.

Three observers followed the performance, using the Piccolo scheme to observe positive adult-child interactions (warmth, responsiveness, encouragement, and teaching). Parents also filled out a questionnaire about their observations. Eight parents with children attended the performance.

Based on the results gained through the questionnaire for parents, we can conclude that all parents rated the content, execution, and listening space of the radio plays for children positively, with an excellent rating (5 to 7 parents). Two parents, however, rated the duration of the performance as moderately good with a suggestion that the radio plays for children should be longer. One parent gave a moderately good rating to the sound/musical aspect of radio plays for children but did not provide any specific comments.

Descriptive responses from parents mainly fell into the following categories:

(1) **Child's reactions:** concentration and calmness, tranquillity, and relaxation (11 statements), socialization among children.

(2) **Radio plays for children:** Children were captivated by both the sounds and the performance. Parents suggested that the event could last longer, expressing a desire for more similar events.

(3) **Parents' wellbeing:** Excellent positive feelings, calmness, and excitement about their children's behaviour and the overall flow of the event. They noticed the kindness of people, but were bothered by the presence of spectators without children, recording, the heat in the room, and poor marking of the space.

(4) **Parent-child relationship:** The situation allowed parents to peacefully observe their children and feel the desire to connect with their child even more.

"It 'forces' you to stop and gives you the opportunity to focus on your child, to truly see and observe them!"

Results from the observation of parents' behaviour towards children using the **Piccolo observation scheme** showed that most outlined features were:

1. **Warmth:** Was prominently present in all parents.

2. **Responsiveness:** Parents were responsive to their children.

3. **Encouragement:** Parents mostly supported their children in their activities.

4. **Teaching:** There was no teaching because parents did not feel the need for it.

The fundamental insight from this performance was that the safety and friendliness of the space and execution are crucial prerequisites that create a suitable atmosphere for listening. The most surprising realization for parents was how deeply attentive such young children can be, and how

they explore in a relaxed manner. It could be concluded that through radio plays for children performance, parents' sensitivity to children and the need for relaxed, safe, and artistically high-quality events for shared listening were revealed.

3. As part of the radio play festival for the youngest audiences, "Listening Together" we performed the radio plays "Chitter-Chatter" (in the park near the old city power plant) and "Sea" for a group of infants and toddlers with adults in a specially equipped part of the hall in the Old City Power Plant, as well as in a kindergarten for a selected group of children with their teachers. Additionally, some kindergartens listened to the "Musical Kitchen" and "Sea" in the kindergarten and then sent us children's creations and feedback from the teachers.

3.1 Live performance of the radio play "Sea" for a group of moms with infants.

Thirteen parents with their children attended the performance.

From the analysis of the provided responses gained from the **questionnaire for parents**, it is evident that all parents (13) rated the music, props, musicians, duration, the quality of the sensory experience, and the impact of the performance on children as excellent (82 responses) or very good (17 responses). Only one response of moderately good was given by one parent regarding the content, and one response was satisfactory from a parent in response to the performance space (with an explanation: "Parents need guidance on what and how to experience through the performance; it seems we

<figure><img src="image_731.png" /></figure>
all got a little scared, I, for example, would need someone to remind me to listen").

**Descriptive responses** from parents form the following categories:

(1) **Children:** relaxation, calmness of the children, no fear in children (24 responses), interesting for children (17), encourages interaction and movement (2).

(2) **Parents:** the predominant feeling was relaxation, acceptance, calmness, and attention to infants. "A super break for moms."

(3) **RIO:** pleasant and relaxing music, an excellent message, takes you into a fairy tale world, a rich sensory experience. "New sensory experiences for the baby." "Excellent, children enjoyed it, as did adults." Performance: beautiful puppets, even more puppets (12), attention from the performer and interaction with each individual child. "Calm music, beautiful puppets, space dedicated to children."

(4) **Positive space:** the possibility of movement, a pleasant atmosphere, a sufficiently large space, freedom

Results of the observation using the **Piccolo** scheme reveal as follows:

(1) **Warmth:** Was prominently present in all parents.

(2) **Responsiveness:** Was prominently present in all parents.

(3) **Encouragement:** Was slightly present

because it was not necessary; the children felt safe.

(4) **Teaching:** Moderately present; parents named puppets, explained things to children, directed their attention to one of the puppets.

Based on these observations and the anecdotal record of two observers, it can be concluded once again that the prerequisite for listening and enabling full entry into the artistic experience is, first and foremost, the presence of parents with children and a space that must be pleasant, soft, allowing freedom of movement, and aesthetically refined. Puppets and the animator were also shown to be extremely important, as they could approach infants in a special and non-intrusive way. As a criterion for the adequacy of the work, the simultaneous deep calmness and intense interest of infants in following the sound part were confirmed once again. It was also evident in this event that the sensitivity of parents and their attention to children increased.

An important fact highlighted was the necessity to limit the age of children in such events to 2 years, as older children with their movement and liveliness or restlessness could pose a potential danger to infants

## 3.2 Festival "Listening Together": Listening sessions in various kindergartens across Slovenia – Educators’ responses to listening sessions in kindergartens.

1. **"Musical Kitchen"**: Seven groups of children aged 1 to 4 chose the "Musical Kitchen". They mostly listened to it twice, and it

greatly engaged the children in participation and creativity. Listening was an exciting and interesting experience for them. The children quickly started repeating sounds, using spoons, playing with them, and creating interesting things. The "Musical Kitchen" primarily sparked numerous ideas among educators on how to develop various skills in children through more didactic and playful games. It encouraged collaboration, conversation, recognition of familiar objects, play, creativity, and interest in all groups. The didactic charge of this play went beyond mere imitation and repetition of the familiar. It allowed children and educators to discover something new, interesting, and attractive through the known routine, opening up a spectrum of attention and creativity, facilitating the connection of different activities, and promoting various skills in children. Educators could use the play as a support for achieving various curriculum goals. Most groups listened to it at least twice, and some groups repeated the listening in the following days.

2. **"Chitter-Chatter"**: Two groups chose "Chitter-Chatter", both times for calming down before lunch or naptime. Educators associated this activity with paying attention to sounds during a walk. After the walk, they played the fairy tale for the children, calming them down and helping them recognize sounds heard earlier in real life. Interestingly, educators observed that the children were more calm and patient with each other during lunch. The play clearly addresses attention to the external environment and, therefore, attention to each other, listening to the

<figure><img src="image_732.png" /></figure>
surroundings, which also includes listening to others around you. The social aspect of this play was a surprise for the researchers, as it was not anticipated before. For one of these two groups, “Chitter-Chatter” became part of the daily ritual for calming down and falling asleep.

3. **“Sea”**: Four groups listened to “Sea”, choosing it as a bedtime play. Children calmed down and fell asleep while listening. This play proved to be the most challenging, as two educators reported that children were initially scared due to the unusual singing and sounds. In one group, they interrupted the listening and chose another, less demanding fairy tale for the children. In the second group, despite initial apprehension, they continued listening. The high female voice of the singer attracted the children, calming them down, and they fell asleep. In the third and fourth groups, educators used the “Sea” play for effective bedtime and no other responses were provided. Due to the introductory song about the fish Pharaonic, “Sea” is demanding as it transitions to a more symbolic and partly abstract level. It requires the listener, both child and adult, to surrender and allow themselves to mentally drift away while listening, then return. It addresses the emotional dynamics of mourning and awakening, suitable for more profound listening, especially for children and adults listening together, side by side.

4. The radio play “Sea” was also listened to by mothers at home with their babies, who provided anecdotal recordings of their listening experience and answered a questionnaire tailored for them.

<figure><img src="image_733.png" /><figcaption>Listening session in the kindergarten “Korena”, Zgornja Korena, Slovenia</figcaption></figure>

Some of them were recorded during the listening, and the recordings were analyzed.

Three mothers chose to listen to the radio play “Sea” at home with their babies, each providing different responses to this experience. All of them listened to the play during breastfeeding or bedtime when they wanted to calm down together with their child. For two of them, actual calming occurred. One of the mothers experienced the play as a “complete disconnect,” a “rest,” and “as if time had stopped.” However, the third mother did not find the experience pleasant or calming. She perceived it as somewhat darker and, in some parts, even menacing. This mother interrupted the listening before it ended because she and her child did not feel comfortable in the sound environment created by the play. Perhaps contributing to this was the fact that the first two babies were girls, while the last one was a boy.

To further explore how the joint listening of each pair of mother and baby actually unfolds, a pilot test was conducted using video and audio recordings in a specially equipped studio. Initial results showed that this method could provide clearer and more detailed insights into the joint listening experience, which will be pursued for further research.

5. Evaluation of the symphonic concerts for infants and parents involved four perspectives.

We sought feedback from:

1. ** Creators for infants and toddlers, conducting semi-structured interviews with them and qualitatively analyzing the responses.**

2. We designed an observation scheme for infants and toddlers, filled out by trained **observers**. We also utilized the Piccolo observation scheme to observe positive interactions between caregivers and children (warmth, responsiveness, encouragement, teaching).

3. We prepared questionnaires for **parents**.

4. We prepared questionnaires for **performers** (members of the symphony orchestra). Evaluation took place directly at three symphonic concerts, featuring four symphonic works for infants and toddlers. The concerts were held in the Radio Slovenia studio, which was spatially adapted for the youngest listeners. The space was arranged with a central area covered with soft rugs, allowing infants to crawl freely. Footwear was not allowed in the area. Parents sat on soft cushions around this space, so infants and toddlers were in their laps.

<figure><img src="image_734.png" /></figure>
Some even fell asleep, while others could safely explore the environment and create social connections with others.

Musicians were arranged around the central stage, visible and approachable for both children and parents. All musical pieces were novelties and created purposefully. Recognizable Slovenian authors of contemporary classical music from younger generations were chosen as creators. The musical pieces were crafted as a kind of sound collage.

## Analysis of the First Concert: Larisa Vrhunc – “So Quiet”

During the first symphonic concert, composed by Larisa Vrhunc and titled “So Quiet”, two performances took place. The first, at 2 PM, was dedicated to vulnerable groups, while the second, at 5 PM, was designed for infants, toddlers, and their parents. There were 16 participants, including 11 boys and 5 girls, aged between 7 months and 5 years.

### Preparation of the Venue
The concert space was meticulously prepared for infants and toddlers. Children were given soft rattles and fabric bags filled with crackling paper to create soft and gentle sounds. The audience sat on comfortable cushions and seating bags, while the orchestra musicians were arranged in a circle, allowing a clear view of various instruments, musicians, and the conductor.

### Detailed Venue Preparation
Composer Larisa Vrhunc specifically equipped the space with two hanging bells positioned above the children's heads. These bells, adorned with feathers and dreamcatchers, were intended for interaction with

the children. Performing a concert for children with special needs highlighted how detailed venue preparation and compositions can positively impact the regulation of hypersensitive children.

### Effect of the Concert on Children
In line with the composer's statement that children are sensitive to stimuli, educators observed positive effects. Introverted children became more sociable, while extraverted ones became calmer.

The concert and the event acted as a regulatory factor, simultaneously calming and motivating. This was particularly noticeable in children with special needs, where such concerts can be extremely important.

### Parents' Responses
All parents were very satisfied with the concert. They rated the musicians/performers and the performance venue the

<figure><img src="image_735.png" /><figcaption>Symphonic concert for babies and toddlers, RTV SLO. Photo by Adrian Pregelj</figcaption></figure>

<figure><img src="image_736.png" /></figure>
highest. Despite the somewhat less popular music and content, parents were thrilled with the sound environment, props, and the overall aesthetic experience.

**Performers' Responses:** The performers were well-prepared and positively assessed the conductor's leadership and the venue's preparation. However, they highlighted that the atmosphere was better at the beginning than at the end. They also pointed out the inappropriate duration of the concert and the complexity of the music. Three of them emphasized that the music should be more suitable for children.

**Conclusion:** Venue preparation, interactive elements, and detailed attention to the special needs of children are crucial for the success of concerts for infants and toddlers. Despite some criticisms regarding the music and the complexity of the work, parents and performers recognized the positive impact of the concert on children and called for more similar events in the future. Establishing these connecting and positive experiences in early childhood can have a significant impact on their overall development.

## Analysis of the Second Concert: "Defiance of the Glorious Children" by Svetlana Maraš and "Perpetuum Mobile" by Matej Bonin

At the second symphonic concert for babies and toddlers held on Thursday, June 15th, two premieres of works by composers Svetlana Maraš and Matej Bonin were presented. The RTV Slovenia Symphony Orchestra, conducted by Steven Loy, was once again accommodated by the spaces of Studio 26. The first concert at 2:00 PM was dedicated to vulnerable groups, while the second concert at 5:00 PM was for infants,

toddlers, and their parents. The venue was arranged according to the needs of the children, who were seated in the center of the action on soft mats or sitting bags, surrounded by the symphony orchestra.

The second symphonic concert was performed twice, with a different order of compositions each time. In the first performance, Maraš' composition took the lead, while Bonin's was first in the second. Due to the nature of the concert (two pieces performed together), it was challenging to evaluate responses to each individual concert. Only a general difference based on the order of play and the overall listening process was observed. Therefore, the evaluation is more general.

**Piccolo Form:** In almost all pairs, a significant amount of warmth and responsiveness was clearly noticeable. Parents dedicated themselves entirely to their children, giving them full attention and being relaxed in their interactions. They remained physically and emotionally close to their children, following their lead and appropriately responding to their actions. Encouragement of children was evident, especially in supporting their decisions and allowing them to explore the space, musicians, and sounds in their own way. Parents showed slightly less enthusiasm for what their children were doing. Clear behaviour was also observed in praise, with parents either clearly praising their child or not praising them at all. As no props were included in the second symphonic concert, encouragement through playing with toys was minimal or non-existent. Teaching was also less pronounced due to the age range of 0-3 years. Parents mostly suggested activities to prolong the child's interest or talked with the child about the characteristics of objects, in this case, instruments.

**Parents' Response:** Overall, all parents were very satisfied with the concert. They rated the musicians/performers (98.9%) and the venue (96.8%) the highest. They liked the music (95.7%) and the content of the musical performance (93.7%). The concert proved to be a positive experience and had a positive impact on the child (92.6%). The symphonic work was considered an appropriate length (90.5%), and the quality of the aesthetic experience was also rated the same (90.5%). Props received a lower rating (73.7%), as they were not specifically included in this concert.

More than half of the parents (10/19) answered that they liked the music or composition the most. They highlighted that the music's calmness allowed children to relax and feel safe. Positive atmosphere in the room and the arrangement of the space were mentioned in five responses, while instruments, the opportunity for children's free movement, and the overall experience for the child were also appreciated. All parents, except one, gave positive responses regarding their child's feelings during the concert. Most children (10/19) felt excellent, and 6 children were relaxed. Parents noted that children were curious, exploring the space, reacting to sounds, and enjoying themselves.

During the concert, ten parents felt great, comfortable, and pleasant. Six of them emphasized that they were relaxed and calm. One mother mentioned sweating due to nervousness, without specifying the reason. One parent was vigilant to prevent their child from taking its neighbours' toys. All parents, except one, responded positively to the question about the concert's effect on their relationship with their child. They

<figure><img src="image_737.png" /></figure>
highlighted that the effect was very connecting, unifying, and positive. Parents had fun, cuddled, listened to music, and enjoyed the concert. Only one parent stated that the concert did not affect their relationship with their child.

Parents expressed a desire for more such concerts, seeing potential in introducing music to the youngest listeners, educating audiences, exposing children to different instruments and classical music. They emphasized that infants and toddlers love music and believe it has a positive impact on their emotional development. They see potential outside the concert hall – in kindergartens, schools, and parks.

In response to the question “What bothered you?” one parent wished for a longer musical experience, while another felt the concert was slightly too long. It was also suggested that the number of children/people could be smaller, and there could be a break between compositions. Some comments were made about the musical work, suggesting it could be livelier and include solo performances by individual instruments.

Regarding the last question “Would you like more such concerts?” 18 parents answered affirmatively, while one parent did not provide an answer.

**Performers' Response:** Fifteen performers completed the survey. All performers were excellently prepared for the situation (92.0%). They felt very good during the concert (82.6%). They rated the atmosphere in the hall at the beginning of the concert the highest (93.3%), while the atmosphere at the end of the concert was very good (85.3%). Children responded better (92.0%) than adults (85.3%) this time. They considered

the duration of the performance appropriate for children (85.3%). They positively experienced the conductor's leadership (84.0%) and communication with him (80.0%). They also rated their interaction with the children (80.0%) similarly. While they agreed that the venue was very well-equipped for this event (82.7%), they had some issues with the orchestra's setup (73.3%) – the orchestra had to move between the first and second pieces. The musical piece they performed was least convincing for them (70.7%). They rated the entire event very well (80.0%).

Ten performers answered that they liked the children's visit, the atmosphere brought by the children, the proximity of the audience and performers, and the reaction of the children most. Three performers stated that they liked the relaxed atmosphere most.

Performers had the most issues or comments about the orchestra's setup and movement between the first and second symphonic pieces. One performer also highlighted mobile devices, stating: “Phones. I noticed that infants' attention shifted to technological devices when mothers were recording memories.”

Regarding suggestions for improvement in the last question, most responses related to the choice of music. Performers expressed a desire for more information about each composition and for instruments to play “normally” so that children could hear the basic sounds of each instrument. They also suggested a different choice of music, including Mozart, short and modern compositions. They mentioned considering the setup and movement of the orchestra, which took quite some time this time, was noisy, and musicians moved among the audience.

**Conclusion:** Both parents and performers rated the atmosphere in the venue, the arrangement of the space, and the musical performance highest. They highlighted good interaction between performers and children. They agreed that the duration and appropriateness of the musical performance were well chosen and suitable for children, despite some musicians providing suggestions for improvement. Although musicians had the most difficulty with moving the orchestra, this did not bother parents, and it was not emphasized in their responses. It is clear from the answers that everyone involved had a positive experience.

**Analysis of the third concert: “Sense-S” by Petra Strahovnik**

The third concert, held on September 30, 2023, featured the “Sense-S” composition by Petra Strahovnik. It was performed by the RTV Slovenia Symphony Orchestra under the direction of Steven Loy. The uniqueness of the third symphonic concert lay in the addition of electronics and the performance of the magician Aljaž Šon. In the adapted space for a relaxed and comfortable experience for infants, toddlers, their parents and companions, the author also incorporated sound objects—balls emitting sounds. In this way, the audience became co-creators of the concert.

**Piccolo form:** Due to the (small) sample size of observers (5 pairs), Piccolo analysis is not meaningful.

**Parents' response:** Overall, all parents were satisfied with the concert. They rated the musicians/performers (98.8%) and the performance

<figure><img src="image_738.png" /></figure>
venue (88.8%) the highest. The concert proved to be a positive experience and had a positive impact on the children (85.0%). They also liked the props (82.5%), and the duration of the performance seemed appropriate (80.0%). They rated the overall quality of the aesthetic experience lower (78.8%), but the music and the content of the musical piece were deemed acceptable (75.0%).

**Parents' feedback:** The majority of parents (5 out of 15) responded that they liked the play and the combination of sounds, including the heartbeat sound. They also highlighted sitting on the floor, the atmosphere, spontaneity, props for children, and the magician's performance, which added extra excitement to the event. Half of the children (8 out of 15) felt very good during the concert, 4 were calm/relaxed, and one was at ease. One girl, experiencing the event for the first time, was a bit "in a trance," and one parent noted that the child felt restless.

Seven parents felt excellent, comfortable, and pleasant during the concert. Four emphasized that they were relaxed. Three parents felt uneasy during the concert due to the crowded space. One parent expressed anticipation—what would happen. All parents (except one) provided positive responses regarding the concert's impact on their relationship with their children. They highlighted the concert's highly connecting, calming, and positive effect. During the concert, they cuddled, listened to music, and enjoyed themselves. Only one parent stated that the concert had no effect on their relationship.

Parents emphasized the desire for more such concerts, seeing potential in introducing the youngest audience to music, educating listen-

ers, exposing children to different instruments and classical music. They suggested more short concerts and supported the idea of subscriptions, incorporating well-known classics (Mozart, Vivaldi, etc.). They also mentioned that focusing on individual instrument sounds, more melodic symphonic pieces, rhythmically expressive compositions, and greater interaction with musicians could be beneficial.

Regarding the question "What bothered you?" parents mentioned that the space was too small, making it difficult for children to see individual instruments; the number of props should match the number of children in the audience, as some were left without them and became upset; they also highlighted that the event was too long. Before the concert, parents wished for specific instructions/rules to be presented to them, as they were confused about what to expect from the event. They also suggested holding the event in the morning, to be more suitable for children.

The concert surprised most parents with children's reactions to specific sounds, their calmness, and diligence. They also appreciated the props, the magician, and the overall flow of the event.

On the last question "Would you like more such concerts?" 13 parents answered yes, and one answered no.

**Performers' feedback:** Nineteen performers filled out the questionnaire. Overall, the performers rated the entire event very poorly (47.8%). They felt very uncomfortable during the performance of the symphonic piece (45.6%), despite being well-prepared for the concert (68.2%). They considered the piece they performed very

poorly (43.5%), and the duration of the symphonic piece was deemed inappropriate for children (41.2%). They believed that both adults and children reacted similarly to the concert (58.8%). Although their interaction with children was good (66.7%), the atmosphere in the hall was good at the beginning of the concert (74.4%) but only acceptable at the end (57.8%). They had a positive experience with the conductor's leadership (67.1%), and their contact with the conductor was also good (68.9%). They rated highest the orchestra's arrangement (71.1%) and the venue's equipment (82.1%).

Five performers answered that they liked the children's attendance the most, the proximity of the audience and performers, and the reaction or response of the children. Among other responses, they also highlighted the magician, confetti, and good attendance.

Performers had the most criticism regarding the choice of musical piece. They pointed out that the composition was unsuitable for children; they didn't receive much information about it; the instruments they blew into or tapped on played "distorted" sounds; the composition was tiring and uninteresting, as certain parts repeated too often... They did not feel comfortable during the concert, and the event was labelled as too long for children. One performer, who is also a mother, emphasized: "Unpleasant sounds, anxious sensations, a feeling as if I were in a mental health institution. As a mother, I did not want to bring my children to the concert!"

Regarding the last question (suggestions for improvements), most responses again referred to the choice of music. Performers expressed

<figure><img src="image_739.png" /></figure>
the desire to offer children a better musical ex-
perience. They also wished for more informa-
tion about each piece, its content, and purpose.
They mentioned that there was very little music
in the symphonic part, and in this chaotic time
they would like to play more pleasant sounds
and melodies. Some responses also related
to the organization of the event, as they had to
wait (too long) between the rehearsal and the
concert.

**Conclusions:** Parents and performers rated the preparation of the space and the orchestra's arrangement the highest. They also liked the props, although there were too few of them this time, causing individual children to be upset. Consequently, parents were nervous too. The interaction between children and performers was good, but parents emphasized that there were too many people, so certain children of the performers did not see well. Both groups were least convinced by the music and the content of the musical piece. The performers found the symphonic piece unsuitable for children. Parents and performers had many suggestions for improvements regarding the musical part. They mentioned that, in the future, they would like more contrasts, more rhythms and melodies, and, above all, instruments playing with their own sound. Both groups found the event too long.

FINAL CONCLUSIONS

Based on the evaluation of symphonic concerts, the following findings can be summarized: Symphonic concerts for infants and toddlers have positively influenced the psychological wellbeing of both children and parents, as indicated by their responses and child observations. The satisfaction of both groups was evident, and positive effects manifested on emotional levels (relaxation, satisfaction, security), social levels (spontaneous creation of social interactions), cognitive levels (attention and concentration), and musical levels (rhythm, vocalization). Performers also perceived these aspects as significant and actively engaged in planning and thinking. The novelty and potential of this newly opened artistic space are encapsulated in the words of editor Gregor Pirš: "Adults 'followed' the children, thereby completely relaxing the atmosphere and opening a new perspective and emotional warmth: 'Contemporary symphonic music needs infants and toddlers, in terms of reflecting on humanity, returning to humanity, ... how we can reconnect with humanity and the mechanism of listening.'"

* **Responses of musicians:** Musicians' responses varied greatly. It would be advisable to explain the purpose of such concerts to performers before implementation, prepare them for it, and consider their preferences regarding the music they perform.

* **Challenges for music creators:** Composing for the youngest presented a challenge that they were not accustomed to. Those who considered the developmental characteristics of the youngest achieved more positive responses from the children, less unrest among them, and consequently, less effort required from parents to calm, inspire, and soothe their children.

* **Importance of coordination:** Exceptionally crucial is the coordination of all involved actors, including composers, performers, organizers, and experts, as they collectively exert the strongest influence on such events.

* **Parental responses:** Parents responded with the utmost gratitude and satisfaction to the opportunity for listening in a relaxed and child-adapted setting. The need for such events is evidently substantial.

* **Key success factors:** The safe and comfortable space provided for parents and children to listen, along with the freedom for children to move around, emerged as the fundamental factor in the success of such events. Another influential factor was the opportunity for interaction with musicians and the connection between children and musicians, which excited both parties and influenced the gentle execution of compositions, even if the performers themselves were not fond of them.

* **Challenges for all involved:** The entire situation posed a challenge for all involved, except for the children, who, within the context, could explore and respond to those elements of the experience that were most accessible and interesting to them, thanks to the safety and presence of caregivers.

<figure><img src="image_740.png" /></figure>
OVERALL EVALUATION CONCLUSIONS AND
RECOMMENDATIONS

Based on the monitoring of the entire project, col-
laboration in the creation and execution of newly
developed works has proven to contribute to:

* **Sensitization of parents and adult caregivers to children's experiences:** Numerous surprises emerged regarding how children can calm down without the efforts of adults, how they show interest in the world around them, and how clearly and deeply they express their experiences of the world.

* **Sensitization of artists:** Artists became more sensitive to what they perform, the sounds they bring to children, concerns about not offering pleasant sounds and music to children, enthusiasm for interaction with children during concerts, and curiosity in observing children's responses to radio works.

* **Dialogues in art:** The entire process of creating a dialogue between creators, listeners, and experts/evaluators was a significant surprise. Where this collaboration was more extensive and intense, the works proved to be stronger and more holistic, addressing both children and adults more powerfully.

* **Interaction and intent:** The sensitivity of the youngest to the intent of individual works was evident, with works being directed toward a specific goal or with less clearly defined purposes. A significant difference appeared between works based on sensitive monitoring and exploration of the children's world and those that focused more on the materiality of art.

<figure><img src="image_741.png" /><figcaption>Photo by Adrian Pregelj</figcaption></figure>

* **Meaning, significance, and purpose of creating for the youngest:** One of the greatest surprises of the evaluation was the development of numerous fundamental questions related to creating for the youngest. These questions ranged from the nature of this process to specific technical frameworks and factors that such creation must consider. There was also creativity in seeking details of aesthetic experiences and the comprehensive integration of artistic messages into the world of intimate relationships between a child and their caregiver. It could even be said that such works have the greatest significance in creating a more delicate relationship between adults and their youngest.

* **Mutuality in the relationship between adults and children and considering the child in artistic creation:** The mutual relationship between adults and children and the consideration of the child in artistic creation were emphasized.

* **Development of an interdisciplinary team:** Throughout the entire process, from creating webinars and radio plays to experimental listening and concerts for infants, an interdisciplinary team of professionals from various fields developed. Together with artists, they created a new field of exploration and creation known as relational art, providing a space for mutual sensitization and the establishment of connections.

<figure><img src="image_742.png" /></figure>
<figure><img src="image_743.png" /></figure>

Photo by Adrian Pregelj

<figure><img src="image_744.png" /></figure>
Dana Papachristou, Ph.D.

Sound Artist, Akoo.o team

Adjunct Lecturer, Department of Culture, Creative Media and Industries

University of Thessaly, Volos, Greece

Founder - Director, To Aesthate G.P.

Yorgos Samantas

Anthropologist, sound designer

TWIXTlab.com

Akoo.o

dimpapachristou@uth.gr

geosams@gmail.com

# AUDIBILITY: EVALUATION OF AN ARTWORK AS AN ASSEMBLAGE OF MATERIALS, CONCEPTS, AND RELATIONS

How can we evaluate an artwork as an assemblage of materials, concepts, and relations, without losing sight of its educational and knowledge-production potential?

First of all, just a few words on our positionality as researchers of the “Audibility” project. We (Yorgos Samantas and Dana Papachristou) belong in the hearing majority, so we do not speak on behalf of our interlocutors. From this perspective we seek to see, hear, listen, communicate, and inhabit the world through differential sensory configurations, to quote Friedner and Kusters (2020, pp. 31–49). Among the variety of models (like the bio-medical, the charity/tragedy, the religious/moral model) of understanding and acting, with regard to our interlocutors, we adopted the social model of disability, which seeks to change society in order to accommodate people living with disability. It does not seek to change persons with disabilities to accommodate society. It supports the view that people

with disabilities have a right to be fully participating citizens on an equal basis with others.

Our method, our mode of creating pertains to a larger genre of socially engaged and workshop based art. We worked with Deaf and Hard of Hearing communities and individuals, deaf / hard of hearing / hearing artists and art practitioners, technologists, art students, education professionals, academic community, people with disabilities, creative professionals, contemporary art audienc es, new media artists and the general public. We ourselves exist in these categories, as we are also learning from these processes, so we do not pres ent ourselves as experts during “Audibility” work shops. Instead we work as facilitators.

Our evaluation method was intertwined with the artistic processes. We opted for participatory art- works, thus the evaluation method was embedded into the artistic processes. The workshop-based

approach gave us the opportunity to make collective choices together with the participants, namely the artists, our team in Twixtlab, the Deaf and Hard-of-Hearing children and young adults, and the valuable team of the educators in the school. We were working all together and there were many choices that have made literally together.

Apart from the artistic choices in all artworks, we were dealing with discussions, questions, disagreements and alterations proposed by the participants. All arguments were discussed towards collective decisions. If the proposed alternative idea was impossible to be realised, we had an open discussion to explain the reasons we are not opting for it.

There was an open exchange where we, as educators, as facilitators, were sharing tools to be used multi-modally in the workshops, as tools and

<figure><img src="image_745.png" /></figure>
knowledge. Our artistic intention and gesture included making an artist out of everyone involved, and facilitating collaborative works. These knowledge and tools, shared by the core “Audibility” team, as well as by our collaborators and artists in residence, enabled learning and co-creation together with Deaf and Hard of Hearing children and individuals inside the School’s classroom, but also in Twixtlab’s space, and lately in the National Opera of Greece. All of these workshops were offered freely and in open forms, in accessible places and with all our attempts for full inclusivity.

At the end, we also produced a video for each series of workshops at the school which was leading to the production of the artworks, and showed once again this video to the children, so as to get their feedback. This process was very useful both to do and watch, and very important for our internal and joint evaluation, as the videos were really easy for the children to understand, to grasp the entire plan behind the series of workshops and to see themselves actively participating.

In a more internal process, the reports from our part are highly contemplating on these processes, both mentioning our success in the field and critically looking into all deviations, all the different paths we took, detouring from our initial plans, the ones in the papers.

As it can be understood, our evaluation here was not of a quantitative approach, but was based on collective bodies formed by discussion and collaboration, in qualitative ways and with a concrete anthropological approach, evaluating not only the reception of final artistic works (as ‘end products’, or ‘outcomes’) but also the processes that lead to them. In our team, we worked with anthropologists, musicologists, musicians, designers,

composers, education professionals, academics, artists, but we didn't include medical professionals in this part of the program, as we wanted to approach deafness culturally and not in terms of impairment, deficiency or lack.

Together with the workshop-based approach we asked artists and researchers involved in the program to write us a report and a reflection text on what worked and what didn't work, how they viewed the process, what tools they used and their contemplation on the production of the artwork. Based on these reports, we wrote the curatorial texts, having again in mind that the end work was not the goal *per se*; instead we shifted the focus once again onto the process.

We have connected these activities with academia as well. We have already written a chapter in a collective book about disability and four papers concerning our outcomes and procedures. There we presented the program and our theoretical approaches, the theory we are affiliated with, the academic path we base our creative plans on. Academia, with all its processes, constitutes the cornerstone of evaluation, always based on peer-reviewed systems and procedures of assessment. So, our academic approach has always been peer-reviewed, leading as well to alterations in many of our initial points and, of course, we were constantly adding new realisations from our field ourselves, as our work is an ongoing process for ourselves too.

<figure><img src="image_746.png" /><figcaption>Graphical score created by students. Photo by Yorgos Samantas</figcaption></figure>

<figure><img src="image_747.png" /></figure>
## Suggested literature

Drever, J. L., & Hugill, A. (Eds). (2023). *Aural Diversity*. Routledge.

Drever, J.L. (2019). "Primacy of the Ear" – But Whose Ear? The Case for Auraldiversity in Sonic Arts Practice and Discourse. *Organised Sound*, 24(1), 85–95.

Fawkes, W. G. (2006). The Teaching of Music to Hearing Impaired Children and Teenagers. *Mary Hare History*. https://www.maryharehistory.org.uk/articles/music2.html

Friedner, M., & Kusters, A. (2020). Deaf Anthropology. *Annual Review of Anthropology*, 49, 31–47.

Friedner, M., & Helmreich, S. (2012). Sound Studies Meet Deaf Studies. *Senses and Society*, 7(1), 72–86.

Glennie, E. (1990). *Good Vibrations*. My Autobiography. Hutchinson.

Glennie, E. (2003, February). How to Truly Listen. TED Conference. https://www.ted.com/talks/evelynGlennie_how_to_truly_listener?language=el

Panopoulos, P. (2021). Deaf Voices / Deaf Art. Vocality Through and Beyond Sound and Sign. *Journal of Interdisciplinary Voice Studies*, 6(1), 9–26.

Panopoulos, P. (2016). Hearing Deaf Voices. In P. Panopoulos & E. Rikou (Eds.), *Φωνές / Fonés* (pp. 82–100). Nisos.

Reisler, J. (2002). *Voices of the Oral Deaf*. Fourteen Role Models Speak Out. McFarland.

Seth Kim-Cohen, S. (2009). *In the Blink of an Ear*. Toward a Non-cochlear Sonic Art. Continuum.

Wirz, Sh. (1991). The Voice of the Deaf. In M. Fawcus (Ed.). *Voice Disorders and their Management* (pp. 283–303). Springer.

Woodward, J. & Horejes, T. P. (2006). deaf/Deaf. Origins and Usage. In G. Gertz & P. Boudreault (Eds.), *The SAGE Deaf Studies Encyclopedia* (pp. 285–287). SAGE Publications.

<figure><img src="image_748.png" /></figure>
<figure><img src="image_749.png" /><figcaption>Festival of Radio Plays for Babies and Toddlers, RTV SLO, March 2023, Ljubljana, Slovenia
Photo by Adrian Pregelj</figcaption></figure>

<figure><img src="image_750.png" /></figure>
# ARTS-BASED AND GAME-BASED EVALUATION

During the B-AIR project, my focus as a researcher was on developing both new formats of the sound art and music mediation, and methodological tools for doing research with creative teams of authors and performers. I used arts-based and game-based research tools in interviews with performers and creators of radiophonic theatre play "The Tree that Sang", as well as with children-performers in the radiophonic theatre play "Wars of the Worlds"<fnref n="1" />.

For example, in the interview (15.7.2022.) with the author of the radiophonic theatre play "The Tree that Sang" I did biographical narrative research using a diversity of resources as the material for analysis (semi-structured arts-based interview, written graphics, video recording of the theatre play, scenario, etc.). Through the biographical research I wanted to map a person's artistic and learning path, as well as to link it with the reflection on the artistic work.

Similarly, I did biographical research in a reflection session with practitioners who did soundpainting workshops (see more in Chapter I: "Children as explorers in a sound adventure"), using the element of a river as a metaphor for a journey of learning and engaging with music personally and professionally:

<table><caption>Table 1. The interview protocol</caption><tr><td>Past</td><td>Questions: Who are you as an author, performer and a dramaturge? Please, describe your musical path. How did you enter in the radiophony? What is your favourite sound? What does being a part of RadioTeatar Bajsić &amp; Friends mean to you?</td></tr><tr><td>Present</td><td>Double diary: guided self-reflection on the process of working on the theatre play, as well as a retrospective scenario (text) analysis.</td></tr><tr><td>Future</td><td>Postcards: think about the lessons you learned during the process of creating the theatre play for children and with children. Please, write your messages on the postcards and 'send' them to your recipients. To whom would you like to write them? Teachers? Musicians? Children?</td></tr></table>

<table><caption>Table 2. Double diary (retrospective scenario-analysis)</caption><thead><tr><td>Quotation (from scenario)</td><td>Commentary</td></tr></thead><tbody><tr><td></td><td></td></tr></tbody></table>

Examples of questions used during the retrospective scenario-analysis:

1. Think about the creative team of performers, and the audiences. How did the making-of process look like? What is the role of interaction with the audience?

2. Let's talk about: (1) the relation(ship)s (Violin and Cello, Man and instrument; classical and innovative; old and new; freedom and responsibility) (2) and the approach to the content and the diversity of artistic expressions (the story is told through the sound, music, theatrical act and author's text).

<figure><img src="image_751.png" /></figure>

<footnote n="1">1 More about the radiophonic theatre plays can be seen in Chapter I: "Children as soundmakers in radiophonic theatre play" and "The Tree that Sang and Wars of the Worlds".</footnote>
<figure><img src="image_752.png" /><figcaption>Picture 1. Biographical research – using the river as a metaphor of the music learning journey
Photo by Ana Čorić</figcaption></figure>

Did you, while working, have in mind that the text
has some kind of pedagogical/didactical task?

a) woods - searching for the material;

b) instrument workshop – Amati makes and raises instruments;

c) life journeys;

d) concert stages;

e) searching for the new sound.

3. Explorations: (1) text as music & music as text; (2) sound pedagogy & music pedagogy.

4. In-between spaces: (1) the overlapping spaces and the discordance spaces; (2) performance spaces; (3) artistic performance vs. pedagogy; (4) culture of looking/visual culture vs. neglected culture of listening; (5) stimulating imagination of performers and the imagination of children audiences; (6) performer as an author and an active participant/performer/protagonist vs. the child in the audience as an author and an active participant/performer/protagonist.

In the radiophonic theatre play “Wars of the Worlds” I combined arts-based and game-based research in order to keep children-performers in the performing mode, as I knew in advance that the research will be carried out in the time between two shows performed on the same day. As I wanted to explore some questions related to the theatre play itself, as well as some of their attitudes towards sound, theatre, and radio, I have decided to construct a sort of a ‘memory game’ as a research instrument.

Steps of constructing the research instrument
were:

(1) writing down possible questions for the semi-structured interview;

(2) grouping the questions and forming the order of the game, because for me as a researcher it was important to have certain stable points in the discussion to keep the logical flow;

(3) drawing symbols and writing associations as 'riddles' related to those questions;

(4) making pairs (symbol + word).

As in the popular ‘memory game’, the idea was to
find a pair. In this case, the only rule I told to chil-
dren was that there were papers with words and
papers with graphics, and that the idea was to pair
each graphic with the word. Each graphic had a
hidden number somewhere in the drawing, and
this is how I managed to keep the order of topics.
Children managed to find out numbers in the draw-
ings, but they could pair them with words only after
’solving the mystery’ of questions that I asked fol-
lowing each graphic. In this way children man-
aged to maintain the concentration
for more than 40 minutes.

<figure><img src="image_753.png" /></figure>
At the end there was a reward on the last paper – tickets for the storytelling festival. Limitations in this research were numerous. Since the show “Wars of the Worlds” wasn't performed many times because of the pandemic lockdowns, I had only one chance to try the game out. Besides that, there weren't many children in that particular occasion, and also I had to respect the ethical procedure and ask only children who accompanied by parents who needed to sign the permission form.

Semi-structured interview as a cooperative and self-reflective memory game consisted of several topics of interest:

<figure><img src="image_754.png" /><figcaption>Picture 2. Postcard written to the practitioner<fnref n="2" />
Photo by Ana Čorić</figcaption></figure>

1. Getting to know each other and the game

2. Children, radio and listening

3. Theatre and the transition to the "Wars of The World"

4. Child/artist and interaction with audiences

5. Power dynamics (interactions between children, actors and director on the stage)

6. Sound effects

7. Learning by doing (what do you get)

8. When I grow up, I will be...

In the continuation of the text, all the graphic-word pairs are listed, accompanied by some main questions asked. Some parts of the game are described in the Chapter I: "Children as sound-makers in radiophonic theatre plays".

<figure><img src="image_755.png" /></figure>

<footnote n="2">2 As 'musical' postcards were part of the radiophonic theatre play, this is where I took the idea to use this element in the research, too. Translation of the postcard from Croatian: Dear You, if and when you decide to embark on the radiophonic adventure, try to use sound without trying to replace the lack of visual. Try to answer the question: What can I do ONLY and EXCLUSIVELY with sound? What makes the sound special?</footnote>
<figure><img src="image_756.png" /><figcaption>Picture 3. Construction of the game for the research with children. Photo by Ana Čorić</figcaption></figure>

<figure><img src="image_757.png" /></figure>
<figure><img src="image_758.png" /><figcaption>Picture 4. Pair no. 1 – Getting to know each other
Photo by Ana Čorić</figcaption></figure>

UPOZNAVANJE

<figure><img src="image_759.png" /><figcaption>Picture 5. Pair no. 2 – Exploring relationship to the radio as a medium
Photo by Ana Čorić</figcaption></figure>

ZATVORENE
OCI

### Question(s):

1. How old are you and which school/class do you attend?

<figure><img src="image_760.png" /></figure>

### Questions:

2. How come that you like the radio? Do you like it more than the mobile phone, computer, or TV? What makes radio different from the phone, television, etc.?

3. Is the radio considered 'cool' among your peers? If not, how would you explain to them that the radio actually is cool?

4. Do you like simply to just listen to the radio, or the music? Is it boring when there is no screen?

<figure><img src="image_761.png" /></figure>

<figure><img src="image_762.png" /></figure>
<figure><img src="image_763.png" /></figure>

Questions:

5. Do you like to go to the theatre?

6. How, when, and why did you get involved in radio theatre plays?

7. What would you say to other children as advice – why to come to the theatre? What is special for you in the theatre?

<figure><img src="image_764.png" /></figure>

Questions:

8. What is your role in the theatre play "Wars of the Worlds"? How did your process of preparation look like?

9. What do you think, in which way would the theatre play "Wars of the Worlds" be different if it was without the children?

<figure><img src="image_765.png" /><figcaption>Picture 6. Pair no. 3 – Exploring relationship to the theatre
Photo by Ana Čorić</figcaption></figure>

<figure><img src="image_766.png" /><figcaption>Picture 7. Pair no. 4 – Exploring the role of children as performers in the “Wars of the Worlds”
Photo by Ana Čorić</figcaption></figure>

<figure><img src="image_767.png" /></figure>
<figure><img src="image_768.png" /></figure>

Picture 8. Pair no. 5 – Exploring the relationship and power dynamics with the director and other actors in the “Wars of the Worlds”. Photo by Ana Čorić

<figure><img src="image_769.png" /></figure>

Picture 9. Pair no. 6 – Exploring sound effects in the “Wars of the Worlds” Photo by Ana Čorić

<figure><img src="image_770.png" /></figure>

<figure><img src="image_771.png" /></figure>

<figure><img src="image_772.png" /></figure>

Questions:

10. What do you do on stage in the “Wars of the Worlds”?

11. Are you an artist, then?

12. What does Pavlica (op. ur. director of the theatre play and mother of one of the children) do in this theatre play?

13. What do other adult actors do on stage?

<figure><img src="image_773.png" /></figure>

Questions:

14. Can you tell me a secret: how can I make some sound with an ordinary object that I have at home? You know, as you did on stage in this theatre play?

15. What is your favourite sound?

<figure><img src="image_774.png" /></figure>
<figure><img src="image_775.png" /></figure>

Questions:

16. What do you like and what do you dislike on the RadioTeatar stage that you spend together with directors, actors and musicians?

17. Which part of the process was/is the most interesting – rehearsals, recordings, performances?

18. What did you learn in the rehearsals from your adult colleagues (actors, director, musicians)?

<figure><img src="image_776.png" /></figure>

Questions:

19. What do you want to be when you grow up?

20. If you could choose for yourself one vocation that you have seen here in RadioTeatar Bajsić & Friends, which one would you choose and why?

21. Do you want to keep doing arts when you grow up?

<figure><img src="image_777.png" /><figcaption>Picture 10. Pair no. 7 – Exploring the ‘community of practice’ in the “Wars of the Worlds” Photo by Ana Čorić</figcaption></figure>

ZAJEDNO

<figure><img src="image_778.png" /><figcaption>Picture 11. Pair no. 8 – Exploring the artistic “possible selves” in the “Wars of the Worlds” Photo by Ana Čorić</figcaption></figure>

KAD NARASTEM
BIT CU...

<figure><img src="image_779.png" /></figure>
<figure><img src="image_780.png" /></figure>

<figure><img src="image_781.png" /></figure>
<figure><img src="image_782.png" /></figure>

RADIO
TELEVIZIJA
SLOVENIJA

(B) - A I R
B N A
S F D
T I
R N
A I
C T
T Y
**Jan Jona Javoršek**

Head of Network Infrastructure Centre, Jožef Stefan Institute, Ljubljana, Slovenia

**Joh Dokler**

Software developer, Seven Past Nine, Ljubljana, Slovenia

**Miha Valenčič**

System architect & Developer, VMA d.o.o., Ljubljana, Slovenia

**Gregor Pirš**

Composer, Cellist, Head of Music ARS Program, Radio Slovenia, RTV Slovenia

jan.javorsek@ijs.si

joh.dokler@gmail.com

miha@valencic.si

Gregor.Pirs@rtvslo.si

# AIR Concept

* **B-AIR** – a blend of the AIR tech and specific aesthetic & conceptual idea: radio art for babies, toddlers and vulnerable groups

* **AIR** – Abstract Infinity Radio => the (initial) tech part of the B-AIR project. The idea for the Abstract Infinity Radio platform was born at the EBU Ars Acustica Group Plenary Meeting in Ljubljana Brainstorming Session. Could be seen as further elaboration of the EBU Ars Acustica Art's Birthday Party concept.

<figure><img src="image_783.png" /></figure>

We want to go further in developing the “paradigm of modern radio”, so we’ve envisioned a web-based platform called AIR – Abstract Infinity Radio – as an artistic channel, designed to enable online artistic collaborations and further processing of gathered sound material with the help of machine learning technology.

Our main intention is to initiate a lasting radio channel that will be a work of art in itself, a joint artistic declaration of the dispersed “sonic tribe(s)”.

It will listen to the world [of artistic events], it will store the sound perceived in its 'radio subconscious' and will keep creating ever new contexts from fragments of its own memory. The resulting 'sound sculpture' will be ever-changing, unpredictable, and will be granted 'eternal life' on the servers of the Jožef Stefan Institute.

AIR manifesto

<figure><img src="image_784.png" /></figure>
## WHY AIR?

Following the brainstorming session of the European Broadcasting Union (EBU) Ars Acustica Group plenary meeting in Ljubljana (May 2018), an idea has surfaced to conceive a radio station as a work of art in itself. The idea is roughly based on the EBU AA Art's Birthday radiophonic experience.

Within the B-AIR project we tackled the task to build the basic infrastructure for such a radio station, which means providing technical capabilities and developing software ideas that support the fundamental processes of this infrastructure and indicate possible development or technological upgrade in the future.

The technological framework of the AIR platform has been designed in two stages. This document describes them both in a concise, general way. More detailed technical specifications can be found within the manuals linked at the end of each chapter.

<figure><img src="image_785.png" /><figcaption>AIR Platform at the Global SpecifiCity event in Ljubljana, June 2023, sound installation at the Museum of Contemporary Arts Metelkova (+MSUM). Photo by Katja Kodba</figcaption></figure>

<figure><img src="image_786.png" /></figure>
# HARDWARE CAPABILITIES AND BASIC ARTISTIC COLLABORATION SOFTWARE

Phase 1 covers the functionality to support live collaborative artistic events.

In order to support the generation, capture, exploration and reworking of audio streams, we have established a support system with several physical and virtual servers at the Network Infrastructure Centre of the Jožef Stefan Institute (JSI) in Ljubljana. We arranged for the initial testing systems to be provided with comfortable storage capacities and direct connectivity to the institute backbone and through it the Academic Research Network (Arnes) national and GÉANT networks. This set-up allows us to provide additional connectivity, including low-latency connections (i.e. based on our experience with LOLA, the Low Latency audio visual streaming system, like LoLa on Arnes, and LoLa at https://lola.conts.it/). Later in the project, when specific requirements were well known, we upgraded the systems with dedicated B-AIR servers equipped with in-place hot backup systems, providing for a hope that our platform will be available to serve the artists for a long time to come.

But any digital platform and its hardware remain just as fragile and limited in time as the research and artistic projects and partners do. Our strategy of open source development and releasing our tools to the public and within the curation of the EBU is the real long-term strategy. Believing that our work and its results will only strengthen the 'I' (Infinity) in the AIR platform name, through the interest and involvement of artists in the future, we have set up the system as an open platform and arranged for its results to be provided with long-time curation by the EBU.

Jožef Stefan Institute provided the expert team including also external collaborators and developers (Joh Dokler, Miha Valenčič, Jan Jona Javoršek) that assembled the framework from various open-source software modules, notably the *Jack Connection Kit* (by Paul Davis) and *Jacktrip* (Juan-Pablo Caceres, Chris Chafe CCRMA, Stanford University et al.) in order to provide live low-latency over the internet connectivity to musicians. The team of artists and producers, joined by the RTV Slovenia coordination team (Gregor Pirš, Primož Trdan, Marko Šetinc) performed extensive testing. The framework proved

to have excellent functionality, but, as it turned out later, some problems arose with end-user connection solutions for different software packages / operating systems. Within the framework of the B-AIR project, we managed to address the problems to the extent that allowed us basic interoperability and enabled us to work together, sometimes relying on additional hardware mixing equipment or adapters to complement digital audio workstation software packages' interfaces where the direct software connection was not possible.

<figure><img src="image_787.png" /></figure>

AIR global connection

Two JackTrip monitoring policies:

* all but myself

* just the chosen other subject (chaining performers)

Puredata core mixer

n-tracks core mixer, depending on specific needs of the artistic work in question

<figure><img src="image_788.png" /></figure>
Once at this stage, we could expand our platform with the next phase - the creation of an online mixing desk implemented in the flexible and open Puredata system (Miller Puckette).

## gpp-air-coremix

The AIR Coremixer was designed by Gregor Pirš (RTV Slovenia) with flexibility in mind. The core server-side software is designed in such a way that it can be connected to the existing *Jack/Jacktrip* infrastructure and through it to a multitude of different sound sources that are created in real time by users of the World Wide Web. It can be managed using a graphical user interface (GUI) or using an OSC connection implementing the *airmix* protocol which enables complex hardware or user (intuitive) control

over the mixing process of any number of channels, and can be used interactively or programmatically.

There's no technical limitation to the number of channels: the mixer can be configured differently so that it can support specific requirements of each individual art project. With the help of the reverse OSC connection, the system allows the user to monitor the live state of a wide variety of parameters, which opens up the possibilities of various technological ways of displaying the state, web-based or other, i.e. using the *Puredata* capabilities. Indeed, in addition to the native GUI offered by the *Puredata* system itself, we have developed a remote graphical *Puredata* console (**AIR iConsole**) offering a GUI identical to the one running on the server, but operating by using remote state

tracking. Similarly we implemented a user shell (*airsh*, written in Perl) that can be used for sending commands directly from the terminal, as well as a terminal monitor (*airmon*) intended for monitoring the *airmon* protocol data. Three different tactics available for transferring data from the server allow for the adjusting to the capacity of the network connection.

Another aspect of the coremixer is that it can be easily extended or adapted for any particular sound-project's needs and requirements, by applying *Puredata* handlers at any specific point of the processing chain. Modularity and flexibility of this solution allows for endless extensibility, provided the user can use the *Puredata* graphical programming environment. Currently, each separate track of the AIR Coremixer provides:

* Control over volume (faders)

* Panning control (left/right)

* Capacity to play audio-files and arbitrary clips cut out of them, with all necessary audio-cosmetics such as microfading at the beginning/end

* Capacity to loop audio-files with all necessary audio-cosmetics such as microfading at the beginning/end

* Capacity to record the audio, received by each separate channel to an audio-file

<figure><img src="image_789.png" /><figcaption>AIR mixer</figcaption></figure>

<figure><img src="image_790.png" /></figure>
<figure><img src="image_791.png" /><figcaption>AIR shell</figcaption></figure>

<figure><img src="image_792.png" /></figure>

<figure><img src="image_793.png" /><figcaption>Airliner jump, pow, halfsinus, log, sinus, linear</figcaption></figure>

<figure><img src="image_794.png" /></figure>

<figure><img src="image_795.png" /></figure>

## Complex on-the-fly ramps

Each continuous controller ramp (volume fader, panning) can be assigned several types of progression curves, such as:

* Linear

* Sinusoidal

* Half-sinusoidal

* Logarithmic

* Exponential

* Jump

They can appear one after another, connecting with each other in real-time, with the curves adapting to the required y-span. Also, they can be assigned a delay after which each of them should trigger.

<figure><img src="image_796.png" /></figure>

<figure><img src="image_797.png" /></figure>

<figure><img src="image_798.png" /></figure>
<figure><img src="image_799.png" /><figcaption>Airliner mixed</figcaption></figure>

### Standard audio-mixer functionality:
complex input/output channels setup,
stereo/mono mode, pre-listen bus, mute and
solo mechanism

The AIR Coremixer will provide the required amount of input and output channels and will automatically connect to the channels provided by the *Jack Connection Kit*. It should be noted that the AIR Coremixer is not limited to the use of the

*Jack-Jacktrip subsystem* and can be used independently. Our solution relies on *Jack* and *Jacktrip* as the best tools for the job of providing the required flexibility and network connectivity.

<figure><img src="image_800.png" /></figure>

<figure><img src="image_801.png" /></figure>

The AIR Coremixer works with an (arbitrary) number of tracks. Each track is configured with two input wires and can be bound to stereo or mono modes at the explicit request of the user. Output channels are of two kinds: each track will provide their pre-fader and a *mix-minus* (all-tracks-minus-themselves) output for supporting different scenarios of monitoring by the participant musicians. To keep up with the 'reality' of more complex configurations, the Coremixer will report exact input/output-channel configuration through its *Puredata* outlets.

<figure><img src="image_802.png" /></figure>
<figure><img src="image_803.png" /><figcaption>Airliner track</figcaption></figure>

In addition, the system provides two sets of stereo master outputs: the 'master' output and the 'pre-listen' output.

The 'pre-listen' output bus involvement of each track is controlled via separate mute and level controllers. There's also a standard mute/solo mechanism which works in the traditional way.

The complete set of controls presents a familiar, but flexible and programmable interface that can be put into the centre of a programmable Pure-data network-connected environment.

## Automatic and convenience features: action-accomplishment mechanism, complex track addressing, cosmetic micro-fading

In order to keep the AIR Coremixer as intuitive as possible, we implemented several additional features that cannot be found in traditional mixers. The system provides an action-accomplishment mechanism, with double representation of main continuous controllers (such as fader and panning). Both GUI and the *airmix/airmon* protocol are aware of the possible difference between the user's action and its realisation in terms of possible network lag (the 'realisation' strip is shown in cyan colour in the AIR Coremixer track GUI).

The second convenience-feature is the possibility to address tracks not only by their numbers, but also by

using complex number selection spans or ranges (this feature is available only in the terminal and processing interfaces). The native airmix protocol will understand and handle requests such as:

"1,3,5-7,13 fader 0.8"

and will apply the fader command to tracks numbered 1, 3, 5 to 7 and 13 simultaneously. Such convenience features make using the *airmix* protocol practical and very effective.

There's also automatic micro-fading of all PLAY-ed or LOOP-ed material, which makes it possible to use the AIR Coremixer also as an audio editing engine that can receive and properly handle broadcasting and clipping requests from the core management system.

<figure><img src="image_804.png" /></figure>

B.AIR Audio Recorder

Recording

00:00:16

Stop recording

Listen

20. 11. 2023 08:14

2023-11-20-07-13-48-0-system capture 1.wav

5900 kB

Download bundle

09. 10. 2023 22:57

2023-10-09-20-57-38-0-______89_212_162_186_received_1.wav

1036 kB

2023-10-09-20-57-38-1-______89_212_162_186_received_2.wav

1036 kB

<figure><img src="image_805.png" /><figcaption>AIR recorder</figcaption></figure>

<figure><img src="image_806.png" /></figure>
## AIR Recorder

Miha Valenčič's AIR recorder is built from two components: the AIR recorder web interface and the Jack recorder server.

The AIR recorder web interface allows an authenticated user to select the available channels for recording, and start recording.

After the recording has been made, each track becomes available for listening and/or downloading.

The Jack recorder server is responsible for communicating with the Jack daemon, connecting selected Jack audio outputs to Jack Recorder inputs and recording each selected Jack audio output separately.

## AIR Coremixer and Recorder Firetest

After successful testing, the B-AIR project announced that our platform was available to support a slot within the EBU Ars Acustica Group's Arts Birthday 2023 programme, with the AIR Coremixer technology. The background artistic idea was given by Marcus Gammel, the former EBU Ars Acustica Chairman, who invited renowned radio artist Matthew Herbert into the collaboration. A project named The Kitchen was born, covering 1 hour of the Art's Birthday Party programme for the common EBU event that took place on January 17th, 2023. The project was technologically supervised by Gregor Pirš, Miha Valenčič and Jan Jona Javoršek from the JSI Network Infrastructure Center building in Ljubljana. Matthew Herbert supervised the

artistic implementation from a location in Great Britain. Various members of the EBU group Ars Acustica and other artists (Martin Breindl, Norbert Math, Andrea Sodomka, Eric Maltz, Kim Wichera, Samantha Simmons, Hayden Dean) participated in the collaborative performance from different parts of the world. Herbert's sound engineer Hugh Jones took control of the whole thing from his mixing desk in the UK studio. The slot was broadcasted and (re)arranged on-the-fly by many European radio stations, starting from Radio Slovenia and SWR/Deutschlandfunk Kultur. Audio was recorded on a per-track basis by Miha Valenčič's AIR Recorder and stored into the AIR Platform sound library. An article and interview with the AIR Phase I technology developers was published by the Multimedia centre of the RTV Slovenia under the title "This Is About the Artistic Conception of Software Creation". Later it was published in English by the OMG Bulletin.

## Additional AIR Coremixer resources

A comprehensive manual featuring the description of the Coremixer functionality and context can be found on the B-AIR project web site in the AIR Platform documentation section.

<figure><img src="image_807.png" /><figcaption>AIR Microcosm</figcaption></figure>

<figure><img src="image_808.png" /></figure>
<figure><img src="image_809.png" /></figure>

<figure><img src="image_810.png" /></figure>

<figure><img src="image_811.png" /><figcaption>Preparing for the EBU Ars Acustica Group's Arts Birthday Party</figcaption></figure>

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# AUDIO ANALYSIS TOOLS – FROM AIROSCOPE TO AIRBLENDER

## gpp-airoscope

A 'swiss-knife' among the AIR tools, **Airoscope** designed by Gregor Pirš is a single *Puredata* patch containing various modules that can be switched on or off depending on which parts of the analysis we want to use. The patch is intended to be used as a background process that takes care of performing various types of audio analysis or the musical tissue.

It works by performing multiple simultaneous real-time analysis on a mono music stream and writes the results of these analyses to files (one per analysis) in *yaml* format, suitable for fast reading and conversion into data structures in a wide variety of programming languages.

There are five tools in the current release, three of which belong to the basic set, and two are intended for experimental use:

* Temper - tempo analysis

* Dynoz - loudness analysis

* Pitcher - pitch analysis

* Beater - experimental tempo analysis I

* Bonker - experimental tempo analysis II

**Temper** records universal tempo analysis based on the publicly available *aubio tool*. It looks for areas of stable and unstable tempo, marks where they start in time, records individual rhythmic accents within them and adds additional analysis of average values for the entire recording or

individual regions. The two variants of this tool, Beater and Bonker, work on exactly the same principle, except that they use different core tempo analysis methods and are suitable for either extremely percussive sound environments (Beater) or specific sound environments (Bonker) where the Temper tool's general approach is not sufficient.

**Dynoz** records volume change analysis. It records volume changes, dividing the entire range into ten basic values, from absolute silence (*tacet*) to maximum possible volume (*ffff* - *fortissimo possibile*). It records the time of individual dynamic changes, the RMS value of the envelope, the associated musical symbols and various types of averaging.

The output dynamic range is divided into 10 bands which can be described numerically (degree) or symbolically (symbol). These are absolute dynamic, not 'psychological' values.

0 = *tacet* (absolute silence)

1 = *pppp*

2 = *pp*

3 = *p*

4 = *p*

5 = *mp*

6 = *mf*

7 = *f*

8 = *ff*

9 = *fff*

10 = *ffff*

**Pitcher** records the analysis of the pitch base change. From a musical point of view, this is usually the pitch that occurs in the treble (highest voice) and therefore specifically characterises the current sound situation. At each pitch change, it records the time, frequency, standard musical note, its name and octave, as well as the maximums and averages of the events or time content of the pitches.

**Beater and Bonker** have properties and structure similar to **Temper**, just the tempo-analysis method differs as mentioned.

## Why Airoscope?

Within the framework of the AIR Platform, **Airoscope** is intended to provide data on individual 'regions' - sections of sound files in which a certain sound parameter dominates, or for which it is clear that the dominant parameter cannot be determined. This data serves Joh Dokler's Airblender as the basis for making decisions. The methods described here are a basic set of analytical tools. In the future, we plan to supplement them, at the same time keeping in mind that the interpretation of sound in the context of musical understanding is a very demanding business for a machine environment. It is not possible to musically define every sound situation, and the methods of this kind of definition (for example, the analysis of tempo and metre, as well as the interpretation of the actual loudness

<figure><img src="image_813.png" /></figure>
in relation to the psychological one) are still the subject of scientific study and academic debates. Airoscope uses widely available methods, but at the same time it frames them in a solid and clear analytical framework, thereby providing sufficient analytical diversity and data volume for the operation of the AIR platform.

## Additional Airoscope resources

The tech behind the Airoscope is described on the B-AIR project web site in the AIR Platform Documentation Section.

<figure><img src="image_814.png" /><figcaption>### Airoscope</figcaption></figure>

## Airblender

Joh Dokler's Airblender is the core decision-making centre of the AIR. Airblender consumes the metadata generated by the AIR audio analysis tools about the available audio recordings and uses this information and machine learning methods to direct and control the Airmixer to play the recombined audio on the AIR radio stream.

Airblender uses a (growing) set of algorithms that, based on the audio metadata, selects and combines what audio files and file parts to play. To achieve this it uses 1) a set of heuristics developed through human interaction with the system and 2) introduction of stochastics that provides elements of unpredictability and eliminates possible repetition.

A number of algorithms have been developed to select what is played at any particular time. These algorithms range from simple ones like "play a part of the audio track on channel x" and become progressively more complex both in what the algorithms do and how they are orchestrated across different channels.

A more complex single-track algorithm may play a sliding window with varying window size based on the Fibonacci sequence. Or, based on the temper analysis, play a progression of parts that follow a predefined or generated sequence of pitches.

While single track algorithms that follow predefined heuristics already produce quite interesting results, multi-track algorithms that orchestrate multiple channels in unison provide means for even more auditory possibilities. For example, the 'chord' algorithm can use a pitcher analysis to play a chord or a progression of chords on a subset of channels using sounds that conform to the requested pitches but may be completely different in nature or structure.

The described functionality is clearly asynchronous in nature, as different channels must be controlled independently of each other.

The Airblender is implemented on top of the .NET framework using the F# functional programming language. At the core of the application is the message-processing agent called the MailboxProcessor which executes asynchronous computations. Based on the provided user configuration, the system runs a requested number of audio channel agents. The agents then run in an infinite loop and based on the currently selected algorithm, either

<figure><img src="image_815.png" /></figure>
independently drive an assigned audio channel or
collaborate with other channel agents to produce
more complex audio playback.

The resulting system already approximates a
number of strategies that could be implement-
ed by a sound-art composer when exploring the
materials for an artistic project. Its modular nature
and extensibility, however, enable us to not use the
system as a model or an approximation, but to use
it as a set of tools that can facilitate and extend
our artistic abilities and give us additional degrees
of freedom in experimentation. Its open nature al-
lows us to combine it with other tools and resourc-
es, including additional analysis, generation and
machine learning facilities, while still maintaining
the status of the resulting AIR Platform's outside
beacon: an independently generated artistic radio
stream.

AIR Platform public presentations

At various stages of development, the AIR platform
was introduced to the members of the EBU Ars Acus-
tica group at the EBU Ars Acustica Plenary Meetings:

* 2020 B-AIR Project Announcement (Saška Rakef, Gregor Pirš)

* 2021 Short B-AIR Project Presentation (Gregor Pirš, Saška Rakef, Helmi Järviluoma-Mäkelä, Jan Jona Javoršek)

* 2022 B-AIR and AIR Platform presentation and discussion (Saška Rakef, Gregor Pirš)

The development of the AIR Platform was present-
ed in the form of a webinar lecture delivered by
Gregor Pirš during the CRESSON Workshop in
Cuneo, in October 2022.

Finally, the AIR Platform was publicly presented
in the urban environment at the Global SpecifiCity
event in Ljubljana, June 16-18 2023, in the form
of a sound installation at the Museum of Contem-
porary Arts Metelkova (+MSUM) platform. We are
planning a final presentation as an AIR Round Ta-
ble at the Jožef Stefan Institute, Ljubljana.

AIR Platform materials included so far:

* "So Quiet" (Tako tiho) by Larisa Vrhunc performed by the RTV Slovenia Symphony Orchestra, conductor: Catherine Larsen-Maguire [21.01.2023, 99 tracks]

* "The Kitchen" / EBU Ars Acustica ABP 2023 by Matthew Herbert et al. performed by the Al-iien Productions (Martin Breindl, Norbert Math and Andrea Sodomka), Eric Maltz, Kim Wichera, Samantha Simmons, Hayden Dean, mix: Hugh Jones, produced using the AIR Platform Core-mixer [17.01.2023, 8 tracks]

* "Defiance of the Glorious Children" by Svetlana Maraš performed by RTV Slovenia Symphony Orchestra, conductor: Steven Loy [15.06.2023, 87 tracks]

* "Perpetuum Mobile II" by Matej Bonin performed by RTV Slovenia Symphony Orchestra, conductor: Steven Loy [15.06.2023, 75 tracks]

* "Sense-S" by Petra Strahovnik performed by the RTV Slovenia Symphony Orchestra, conductor: Steven Loy [07.10.2023, 140 tracks]

* "From Womb to World to World of Wonders" by Duo Merzouga (Eva Poeplein, Janko Hanushevsky) performed by Duo Merzouga (Eva Poeplein, Janko Hanushevsky) [17.06.2023, 1 track]

* "What Dogs Hear" by Aernoudt Jacobs performed by Ina Puntar, Tea Vidmar, Žiga Jenko and Tisa Neža Herlec - voice, Aernoudt Jacobs, electronics, installation [16.06.2023, 6 tracks]

* "Cradling the World" (Zazibam svet) by Tomaž Rauch performed by Tomaž Rauch, sound projection [17.06.2023, 1 track]

* "Welcome of the World – WOW" (Dobrodošli-ca sveta) by Irena Popović Dragović – BAZAART Belgrade, performed by Nikola Dragović, Ana Milošević, Ivana Živković, Nemanja Savić, Pavle Popović, Aleksandar Petrović, Irena Popović, Ivan Mirković, Jovan Krstić, Vladimir Gurbaj, Đorđe Antić, Danilo Tirmanić, Dren Dragović, Kala Dragović [15.03.2022, 1 track]

* "United Sounds from the European Evening of Sounds - Sound Memories and Practices of Sonic Remembering" by University of Eastern Finland, FIYLE, RSRTS, SIRTVS - Heikki Uiminen, Helmi Järviluoma-Mäkelä, Jukka Mikkola, Pertti Ylikojola, Nikoleta Dojčinović, Anamarija Štukelj Cusma, Saška Rakef [29.05.2023, 1 track]

AIR Platform perspectives

The development of the AIR platform was one of the
more challenging segments of the B-AIR project.
Although some segments (endpoint connectivity,
machine learning) turned out to be more difficult to
implement than was initially planned, and present-
ed interesting additional challenges, the work al-
lowed us to to set up a balanced hardware-software
infrastructure in which we achieved and in certain
areas (usability of the central application: the
air-mixer) also exceeded our initial
expectations.

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We launched the AIR radio stream for a public trial in May 2023. With some minor technical corrections and improvements, we achieved a stable permanent audio stream until the main presentation in June 2023 (in Global SpecifiCity), which can be supplemented both in terms of content and technology without any problems, since the software is written in an open style, licenced as free software/open source, and well documented.

In one of the next, more technologically oriented projects, we want to improve machine selection and machine learning methods, explore the ability to use analytic module results to complement the existing machine learning techniques, solve some of the remaining challenges with endpoint connectivity and, as a result, create an interface that will facilitate the preparation of collaborative live art events.

Further cooperation with the group of sound artists EBU Ars Acustica will also be in the foreground, because after the end of the project, as promised, we are opening the field for creative upgrading of the technological side of the platform, especially for new and different artistic initiatives, which will definitely enrich what we have already, at the very beginning, called AIR - Abstract Infinity Radio.

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<figure><img src="image_818.png" /><figcaption>AIR Platform at the Global SpecifiCity event, +MSUM, Ljubljana, Slovenia, June 2023
Photo by Katja Kodba</figcaption></figure>

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<figure><img src="image_821.png" /><figcaption>AIR Platform at the Global SpecifiCity event, +MSUM, Ljubljana, Slovenia, June 2023. Photo by Katja Kodba</figcaption></figure>

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B-AIR Art Infinity Radio

<figure><img src="image_824.png" /></figure>
ISBN-978-86-89125-17-7

Belgrade, Serbia

2023

# IMPRESSUM

**Publisher**

BAZAART
Krunska 33, Beograd
www.bazaart.org.rs

**Project**

B-AIR Art Infinity Radio –
Creating sound art for babies,
toddlers and vulnerable groups

**Financial support**

European Commission through the
Creative Europe program

**Editor-in-Chief**

Sunčica Milosavljević

**Editors**

Sunčica Milosavljević
Jelena Stojanović

**Proofreader**

Danica Vulićević

**Graphic design and illustrations**

Igor Sandić
igor.sandic@issstudiodesign.com

**Layout**

ISS Studio Design, Belgrade,
Serbia

The European Commission's support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

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Co-funded by the
Creative Europe Programme
of the European Union