  Live music making can be understood as an enactive process, whereby musical
experiences are created through human action. This suggests that musical worlds
coevolve with their agents through repeated sensorimotor interactions with the
environment (where the music is being created), and at the same time cannot be
separated from their sociocultural contexts. This paper investigates this claim
by exploring ways in which technology, physiology, and context are bound up
within two different musical scenarios: live electronic musical performance;
and person-centred arts applications of NIMEs.
  In this paper I outline an ethnographic and phenomenological enquiry into my
experiences as both a performer of live electronic and electro-instrumental
music, as well as my extensive background in working with new technologies in
various therapeutic and person-centred artistic situations. This is in order to
explore the sociocultural and technological contexts in which these activities
take place. I propose that by understanding creative musical participation as a
highly contextualised practice, we may discover that the greatest impact of
rapidly developing technological resources is their ability to afford richly
diverse, personalised, and embodied forms of music making. I argue that this is
applicable over a wide range of musical communities.
