Artistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relation to live performance as a research method; artistic collaboration and improvisation as research tools; interdisciplinary concerns of the artist-researcher; and the relationship between the affordances of a musical instrument and artistic research in musical performance. Readers will come away from the book with fresh insights about the theoretical, critical and practical work being done by experts in this exciting new field of enquiry.
Contents: Introduction, Mine DoÄŸantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook; Practising research, playing with knowledge, Celia Duffy and Stephen Broad; Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin; Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher’s personal history, Jane W. Davidson; Following performance across the research frontier, Kathryn Whitney; The (f)utility of performance analysis, John Rink; Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine DoÄŸantan-Dack; Creating new music for a redesigned instrument, Christopher Redgate; Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka; FLAT TIME/sounding, David Toop; Index.
The theme for the series is the psychology of music, broadly defined. Topics include (i) musical development at different ages, (ii) exceptional musical development in the context of special educational needs, (iii) musical cognition and context, (iv) culture, mind and music, (v) micro to macro perspectives on the impact of music on the individual (from neurological studies through to social psychology), (vi) the development of advanced performance skills and (vii) affective perspectives on musical learning. The series presents the implications of research findings for a wide readership, including user-groups (music teachers, policy makers, parents) as well as the international academic and research communities. This expansive embrace, in terms of both subject matter and intended audience (drawing on basic and applied research from across the globe), is the distinguishing feature of the series, and it serves SEMPRE’s distinctive mission, which is to promote and ensure coherent and symbiotic links between education, music and psychology research.