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In March 2020, most countries around the world were forced into lockdowns,
which instigated a change in how people communicate, interact and even how
they live and work. For many, online video-conferencing technologies such
as Zoom, Microsoft Teams, Facebook messenger, Skype, WhatsApp etc. became
vital resources in everyday communication, and though all of these
platforms had existed previously, none had been designed to cope with such
a multitude of online activity. All forms of singing have been especially
difficult to facilitate online. While the desire and need to continue vocal
performance, teaching and research has swiftly forced the creation of new
methods and practices that utilise the online space, it is also important
to question issues of accessibility caused by this mass move online.

On the one hand, the online platform has opened up areas of singing
practice and research to those who may not have had the means to access
in-person activities or physical resources. For example, over the last ten
years, there have been creative initiatives devised to help level barriers
to access, allowing people with long-term physical and mental health
issues, those who live far away and those with caring responsibilities to
engage in singing practice and/or research. Indeed, studies by Jeanette
Tamplin (2019), Imogen N. Clark (2018), Shreena Unadkat and Trish
Vella-Burrows (2016) have turned to the online space and digital technology
to facilitate singing activities. On the other hand, singing online also
presents many unique challenges, arguably imposing just as many, if not
more, barriers to access. These include, but are not limited to access to a
computer, fast-internet connection, headphones, a recorder and the skillset
and confidence to use video-conferencing and video-editing software. Other
challenges could be engaging in online singing activities while at home,
limitations posed by the space or other people, comfort and confidence to
engage socially online and so forth. These are just a few of the challenges
this edited collection plans to address.

As such, *Singing and the Online World* aims to interrogate questions of
access, considering the mitigations that need to be put in place to
facilitate singing practice and research online. We seek papers that
discuss, evaluate and engage with issues of access when utilising the
online space for singing practice and research. 


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