6 References
Literature
Barrett, M. S. (2014) Collaborative creativity and creative collaboration: troubling the creative imaginary. Collaborative creative thought and practice in music. (pp. 3-14) edited by Margaret S. Barrett. Farnham, Surrey, United Kingdom: Ashgate.
Gaunt, H & Treacy, D. S. (2019). Ensemble practices in the arts: A reflective matrix to enhance teamwork and collaborative learning in higher education
Hendrickse, J. assisted by Thomson, N. R. (2005) The Reflective Conservatoire, Transcultural Arts Practice. Published by Ashgate, UK.
MacDonald, R. A., Hargreaves, D. J., & Miell, D. (2003). Musical identities. Oxford: Oxford University Press.
Rinpoche, Y. M. (2007). The joy of living. Unlocking the Secret and Science of Happiness. Transworld books.
Muhonen, S. (2016). Songcrafting Practice: A teacher inquiry into the potential to support collaborative creation and creative agency within school music education (Doctoral dissertation, Sibelius Academy, University of the Arts Helsinki, 2016) (pp. 45-55). Helsinki: The Sibelius Academy Studia Musica 67.
Newton, J. Z. (2015). Musical creativity and mindfulness meditation: Can the practice of mindfulness meditation enhance perceived musical creativity? International Journal of Transpersonal Studies, 34(1-2), 172–186.. International Journal of Transpersonal Studies, 34 (1). http://dx.doi.org/10.24972/ijts.2015.34.1-2.172
Odin. S. (2017). Nichiren Buddhism in the Contemporary Jazz Improvisation of Herbie Hancock & Wayne Shorter. The polish journal of aesthetics. DOI: 10.19205/54.19.4
Renshaw, P.(2011). Working Together: An enquiry into creative collaborative learning across the Barbican-Guildhall campus. London: Barbican and Guildhall School of Music & Drama.
Sawyer, K. (2006). Explaining Creativity. The science of human innovation. Oxford, UK: Oxford. University Press.
Small, C. (2010). Prelude. In Musicking: The meanings of performing and listening (pp. 1-18). Middletown: Wesleyan Univ. Press.
Taylor, M. (2019, August 31). Trees could save Kathmandu. But can Kathmandu save its trees? Retrieved from https://kathmandupost.com/climate-environment/2019/08/31/trees-could-save-kathmandu-but-can-kathmandu-save-its-trees
Thomson, N. R. (2013). Shaped by the sea. Artistic Identity and the Process of Leadership and Collaboration in a Transcultural Context. (Global Music Master’s Final Project, Sibelius Academy, University of the Arts, Helsinki)
Tomlinson V. & Wren T. (2017). Here and now. Artistic Research in Music. An Australian Perspective. Queensland Conservatorium Research Centre Griffith University Brisbane
Westerlund, H. & Partti, H. (2018). A cosmopolitan culture-bearer as activist: Striving for gender inclusion in Nepali music education. International Journal of Music Education, 36(4) 533–546. ps://doi.org/10.1177/0255761418771094
Westerlund H., Partti, H, & Karlsen S. (2015). Teaching as improvisational experience: Student music teachers’ reflections on learning during an intercultural project. Research Studies in Music Education
Wohlleben, P. (2018). La vida secreta de los árboles. (Gutiérrez Margarita, Trans.) Barcelona: Ediciones Obelisco
Discussions, Interviews and Diary Entries
Adewale, A and Gabriel R. (2020). Personal written feedback by email. In the possession of the researcher.
Different participants (2019) Personal written communication by text message. In the possession of the researcher.
Gurung, P and Gabriel, R. (2020) Email conversation, June 2020. In the possession of the researcher.
Gabriel Pla, R. (2019). Diary Entry (July, 2019). In the possession of the researcher.
Photos
Figure 1.0
Gabriel, R. (2019) The Music Program of the HumanTree
Figure 1.1
Gabriel, R. (2019) Do you find a smiley face?
Figure 1.2
Hendrickse J. (2005) The three workshop models
Figure 1.2
Gabriel, R. (2020) Table with the Team members
Figure 1.3
Valderrama, J. (2019) Picture from the HumanTree performance
Figure 1.4
Gabriel, R. (2019) Picture of the first structure
Figure 1.5
Hoter, M. (2019) Photo of Roser Gabriel with the logs on stage
Figure 1.6
Gabriel, R. (2019) The Stage Plot
Figure 1.7
Gabriel, R. (2019) Photo of the experiment with the roots
Figure 1.8
Gabriel, R. (2019) Structure of Stages of growth
Figure 1.9
Gabriel, R. (2019) Structure from The news
Figure 1.10
Gabriel, R. (2020) Amaama groove change
Figure 1.11
Gabriel, R. (2020) Photos with the resulted wishes
Figure 1.12
Gabriel, R. (2019) Structure of a harvest of wishes
Figure 1.13
Valderrama, J. (2019) The HumanTree care
Figure 1.14
Gabriel, R (2019) The tree that makes me laugh
Recordings
Figure 2.0
Gabriel, R. (2019) Sounds of the birds in Khasur (NEPAL)
Figure 2.1
Gabriel, R. (2019) Mr Nuchhe Bahadur Dangol talk 1
Figure 2.2
Gabriel, R. (2019) Mr Nuchhe Bahadur Dangol talk 2
Figure 2.3
Gabriel, R. (2019) Audio from the ritual
Videos
Figure 3.0
Dangol. F (2019) Mr Nuchhe Bahadur Dangol and Roser Gabriel playing el Cant dels Ocells
Figure 3.1
Gabriel, R. (2019) Walking to Khasur and people from the village
Figure 3.2
Gabriel, R. (2019) Roser Gabriel outside the temple
Figure 3.3
Valderrama, J. (2019) The HumanTree performance: Seeds
Edited by Roser Gabriel
Figure 3.4
Camerata recording (2019) The HumanTree performance: Roots
Edited by Roser Gabriel
Figure 3.5
Valderrama, J. (2019) The HumanTree performance: Stages of growth
Edited by Roser Gabriel
Figure 3.6
Valderrama, J. (2019) The HumanTree performance: Darkness and light
Edited by Roser Gabriel
Figure 3.7
Valderrama, J. (2019) The HumanTree performance: The relief of forgiveness
Edited by Roser Gabriel
Figure 3.8
Camerata recording (2019) The HumanTree performance A harvest of wishes
Edited by Roser Gabriel
Figure 3.9
Camerata recording (2019) The HumanTree performance: Peace and freedom
Edited by Roser Gabriel