Purpose: This study examined the ensemble performance experiences of visually impaired musicians using narrative inquiry, focusing on their development of collaborative strategies, formation of musical identities, and construction of social meanings through ensemble activities. Methods: Using Clandinin and Connelly's three-dimensional framework of narrative inquiry (temporality, place, and sociality), nine in-depth interviews were conducted. Three visually impaired musicians, all members of a professional arts ensemble, each participated in three interviews. The interview data were transcribed and analyzed resulting in four analytical units, ten categories, and 23 subcategories. Results: The findings showed that visually impaired musicians’ ensemble experiences followed a cyclical narrative structure: constraint ⟶ adjustment ⟶ recognition ⟶ expansion. During the constraint phase, participants encountered structural and psychological barriers, such as self-perception of disability, limited stage accessibility, and challenges with Braille score learning. In the adjustment phase, they redefined ensemble norms using auditory cues, tactile embodiment, and mutual care, developing collaborative strategies. that did not rely on vision. In the recognition phase, participants reaffirmed their identities as musicians through validation from stages, audiences, colleagues, and family. In the expansion phase, they became leaders and mentors, extending their artistic practice to social influence. Collaborative strategies-including reliance on breath sounds, footsteps, verbal cues, and tactile sensing of body curves-showed that ensemble performance is achievable through various sensory channels beyond visual input. Conclusion: These results showed that the ensemble performance experiences of visually impaired musicians extend beyond musical activity, serving as a process of identity, reconstruction, social recognition, and engagement in public practice. By linking Small's musicking theory with McRuer's crip theory, this study found that the collaborative methods developed by visually impaired musicians through auditory and tactile senses are not simply compensations for vision, but a redefinition of ensemble music practice that generates new social relationships and meanings. These findings indicated a paradigm shift in viewing disability-related difference as a source of creativity and innovation, rather than as a deficit. The study presented specific policy recommendations for improving accessibility, such as modifying steep staircases in performance venues, expanding waiting rooms, permitting wireless receiver use, and providing waiting areas for guide personnel. Academically, it expanded ensemble research beyond a visual-centric perspective and offered methodological insights for narrative inquiry with disabled populations. Practically, the collaborative strategies identified can inform the design of ensemble education programs for visually impaired learners. Socially, by documenting the experiences of disabled musicians, through narrative, the study contributed to changing perceptions of disability and promoting genuinely inclusive cultural and artistic environments.

서 론
    1. 연구의 필요성
    2. 연구 퍼즐
연 구 방 법
    1. 연구설계
    2. 연구참여자 모집과 선정
    3. 연구도구
    4. 자료수집
    5. 윤리적 고려
    6. 자료분석
    7. 연구의 엄격성
    8. 연구자 준비
연 구 결 과
    1. 제약
    2. 조정
    3. 승인
    4. 확장
논 의
결 론 및 제 언
REFERENCES
부록 A.

• 이수연(경희대학교 예술, 디자인대학원 포스트모던음악학과 석사과정) | Lee Soo Youn (Master’s Student, Graduate School of Art & Fusion Design, Kyung Hee University, Postmodern Music Program, Yongin, Korea)
• 이철희(경희대학교 예술, 디자인대학원 포스트모던음악학과 조교수) | Lee Chul Hee (Assistant Professor, Graduate School of Art & Fusion Design, Postmodern Music Program, Kyung Hee University, Yongin, Korea) Corresponding author