Artistic Practice as Research in Music: Theory, Criticism, Practice (SEMPRE Studies in The Psychology of Music)

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. Cover 1 Contents 8 List of Figures and Table 10 List of Music Examples 12 Notes on Contributors 14 Series Editors’ Preface 18 Acknowledgements 20 Introduction 22 PART I Institutional and Critical Perspectives 30 1 Performing Research: Some Institutional Perspectives 32 2 Practising Research, Playing with Knowledge 54 3 Artistic Research and Music Scholarship: Musings and Models from a Continental European Perspective 74 4 Determination and Negotiation in Artistic Practice as Research in Music 94 PART II Disciplinary and Methodological Issues 112 5 Practice-based Music Research: Lessons from a Researcher’s Personal History 114 6 Following Performance across the Research Frontier 128 7 The (F)utility of Performance Analysis 148 8 Imaginary Workscapes: Creative Practice and Research through Electroacoustic Composition 170 PART III Specific Projects 188 9 The Role of the Musical Instrument in Performance as Research: The Piano as a Research Tool 190 10 Creating New Music for a Redesigned Instrument 224 11 Improvisations Towards an Origin: The Steel Cello and the Bow Chime 240 12 FLAT TIME/sounding 258 Index 276 Pt. 1. Institutional and critical perspectives -- pt. 2. Disciplinary and methodological issues -- pt. 3. Specific projects