The DiSko project, funded by the National Research Council of Norway, intends to innovate visiting concerts produced nationally by Arts for Young Audiences Norway (AYAN) towards being more ‘dialogic’ in Norwegian public schools. The initiative behind the 4 year DiSko project (2016- 2020) is the fact that evaluation research shows that visiting professional concerts need to be better integrated in school’s everyday life, and that teachers should function as equal professional partners with visiting artists in the elaboration and performing of school concert processes and performances for them to be more learning oriented. (Christophersen & Kenney, 2018). The project’s theoretical inspirations stem from dialogic and relational art and pedagogy (Bingham & Sidorkin, 2004; Bourriaud, 2002). Inspired by Educational Design Research (EDR) (McKenney & Reeves, 2012), we try out different versions of results using alterations and reflections over experiences and practical design suggestions in school interventions. Research questioni is: • How can dialogue based concert practices be produced in order to be integrated as meaningful and professional elements in school´s everyday life? DiSko’s empirical work is organized in two research sequences (each 2 years) where interventions take place in 4 schools in each sequence. In the first sequence four schools and four groups of musicians have been trying out partnerships. This paper presents findings from the first part of sequence 1, and reflects on the issues of participant inclusion during research activities. Preliminary findings are, e.g.: • To have an impact, musicians should visit each school several times • Pupils and teachers should rehearse agreed material between visits • All participants benefit from sharing of materials and experience (films) • Dialogic practices require flexible, innovative and collaborative oriented musicians • Schools can benefit generally from visits even if only one class work with the musicians • Artists and teacher’s roles seem to blur. The issues of inclusion and exclusion is also relevant for the teacher role. • Pupils show and express anxiety to some degree during processes, something that also Is relevant for the inclusion/exclusion issue In preparing and researching innovative practices, there is a need to recognize and systematize issues related to participant inclusion as well as exclusion in addition to describing artistic and pedagogic forms, e.g. (dramaturgic) forms, genres, age/target group, economy and logistics. This research design implicates a continuous information flow and aims at an on-going discussion with practice participants related to these issues.

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