Research-Creation in Music and the Arts PDF Download

Author: Sophie Stévance
Publisher: Routledge
ISBN: 1317065611
Category : Music
Languages : en
Pages : 178

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Book Description
Since the 1970s, the landscape of higher education and research has been considerably altered by the integration of the arts within the university environment. Even though a form of research is inherent to artistic creation, the creative process is not comparable to the established procedures involved in academic research. As such, how can the imperatives of intellectual (and sometimes restrictive) rigour characteristic of scholarly endeavours be reconciled with the more explorative and intuitive approach of artistic creation? The concept of 'research-creation' allows artists and scholars to collaborate on a common project, acknowledging each participant’s expertise in the production of an artistic work that either generates theoretical reflections or has emerged from academic research. This fully revised and updated translation of Sophie Stévance and Serge Lacasse’s original French book offers an overview of the historical, political, social, cultural and academic contexts within which research-creation has emerged in Quebec and Canada, before similar (yet often divergent) conceptions appeared elsewhere in the world. Focussing primarily on the case of music, the book goes on to explore the pedagogical potential of research-creation within a university-based environment and proposes a clear and encompassing definition, as well as a theoretical model, of research-creation supported by concrete examples. By underscoring the reciprocal nature of this approach and the potential benefits of collaborative relationships, the authors’ vision of research-creation extends far beyond the field of music and art alone: rather, it has the potential to integrate all approaches and disciplines that seek to combine practice and research.

Author: Jonathan Impett
Publisher: Leuven University Press
ISBN: 9462700907
Category : Music
Languages : en
Pages : 317

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Book Description
The Orpheus Institute celebrates 20 years of artistic research in music Artistic research has come of age, and with it the Orpheus Institute. Founded twenty years ago, the Institute’s purpose from the start has been to pursue research through the practice of musicians. The Orpheus Institute is of the same generation as the field it was established to explore. Like many young adults, artistic research and its structures are still constructing their identity within a wider world. How have they developed? How will they mature? How can they negotiate relationships with institutions, disciplines, and bodies of theory and yet retain the essence of their work—the critical perspective of the artist? In the last two decades there have been major changes in the dynamics and structures of culture, its institutions and constituencies. How can artistic research maintain a productive dialectic between its potential status as a discipline and its core as radical practice? These and related questions are the threads woven through this collection of essays and assessments by present and past members of the Orpheus community—researchers, scholars, administrators, advisors. Together and separately they weave a tapestry of past accomplishments, current research, and future perspectives. They celebrate the twentieth anniversary of Orpheus not with congratulations but with challenges and questions—a job for research, a job for the Institute, a job for the future. The wide range of contributors to this volume includes practitioner-researchers, theorists, and academic leaders from institutions at the forefront of artistic research in music. Contributors Tom Beghin (Orpheus Institute, Ghent), Paulo de Assis (Orpheus Institute, Ghent), Leonella Grasso Caprioli (Conservatorio di Vicenza), Jonathan Impett (Orpheus Institute, Ghent), Esa Kirkkopelto (University of the Arts, Helsinki), Kari Kurkela (University of the Arts, Helsinki), Susan Melrose (Middlesex University, London), Stefan Östersjö (Orpheus Institute, Ghent), Gertrud Sandqvist (Malmö Art Academy), Huib Schippers, Vanessa Tomlinson, Paul Draper (Queensland Conservatorium Research Centre, Griffith University), Luk Vaes (Orpheus Institute, Ghent), Janneke Wesseling/ Kitty Zijlmans (Leiden University)

Author: Darla Crispin
Publisher: Leuven University Press
ISBN: 9462700133
Category : Music
Languages : en
Pages : 417

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Book Description
Essential reading for anyone interested in artistic research applied to music This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus Research Centre in Music (ORCiM) in Ghent, Belgium. The book critically examines experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues. Contributors Paulo de Assis (ORCiM), Richard Barrett (Institute of Sonology, The Hague), Tom Beghin (McGill University), William Brooks (University of York, ORCiM), Nicholas G. Brown (University of East Anglia), Marcel Cobussen (University of Leiden), Kathleen Coessens (Vrije Universiteit Brussel, ORCiM); Paul Craenen (Director Musica, Impulse Centre for Music), Darla Crispin (Norwegian Academy of Music), Stephen Emmerson (Queensland Conservatorium, Griffith University, Brisbane), Henrik Frisk (Malmö Academy of Music), Bob Gilmore (ORCiM), Valentin Gloor (ORCiM), Yolande Harris (Center for Digital Arts and Experimental Media – DXARTS), University of Washington, Seattle), Mieko Kanno (Royal Conservatoire of Scotland), Andrew Lawrence-King (Guildhall School of Music and Drama, London, Royal Danish Academy of Music, Copenhagen, University of Western Australia), Catherine Laws (University of York, ORCiM), Stefan Östersjö (ORCiM), Juan Parra (ORCiM), Larry Polansky (University of California, Santa Cruz), Stephen Preston, Godfried-Willem Raes (Logos Foundation, Ghent), Hans Roels (ORCiM), Michael Schwab (ORCiM, Royal College of Art, London, Zurich University of the Arts), Anna Scott (ORCiM), Steve Tromans (Middlesex University), Luk Vaes (ORCiM), Bart Vanhecke (KU Leuven, ORCiM)

Author: Annegret Huber
Publisher: transcript Verlag
ISBN: 3839452872
Category : Performing Arts
Languages : en
Pages : 225

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Book Description
How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.

Author: Natalie Loveless
Publisher: Duke University Press Books
ISBN: 9781478004028
Category : Art
Languages : en
Pages : 0

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Book Description
In recent years, the rise of research-creation—a scholarly activity that considers art practices as research methods in their own right—has emerged from the organic convergences of the arts and interdisciplinary humanities, and it has been fostered by universities wishing to enhance their public profiles. In How to Make Art at the End of the World Natalie Loveless draws on diverse perspectives—from feminist science studies to psychoanalytic theory, as well as her own experience advising undergraduate and graduate students—to argue for research-creation as both a means to produce innovative scholarship and a way to transform pedagogy and research within the contemporary neoliberal university. Championing experimental, artistically driven methods of teaching, researching, and publication, research-creation works to render daily life in the academy more pedagogically, politically, and affectively sustainable, as well as more responsive to issues of social and ecological justice.

Author: Elliot W. Eisner
Publisher: Yale University Press
ISBN: 9780300105117
Category : Art
Languages : en
Pages : 296

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Book Description
Learning in and through the visual arts can develop complex and subtle aspects of the mind. Reviews in: Journal of aesthetic education. 38(2004)4(Winter. 71-98), available M05-194.

Author: Mine Dogantan-Dack
Publisher: Routledge
ISBN: 1317178203
Category : Music
Languages : en
Pages : 282

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Book Description
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.

Author: Anna Reid
Publisher: Routledge
ISBN: 1000297284
Category : Music
Languages : en
Pages : 355

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Book Description
Creative Research in Music explores what it means to be an artistic researcher in music in the twenty-first century. The book delineates the myriad processes that underpin successful artistic research in music, providing best practice exemplars ranging from Western classical art to local indigenous traditions, and from small to large-scale, multi-media and cross-cultural work formats. Drawing on the richness of creative research work at key institutions in South-East Asia and Australian, this book examines the social, political, historical and cultural driving forces that spur and inspire excellence in creative research to extend and to cross boundaries, to sustain our music industry, to advocate for the importance of music in our world, and to make it clear that music matters. In the chapters, our authors present the ideas of informed practice, innovation and transcendence from diverse international perspectives. Each of these three themes has an introductory section where the theme is explored and the chapters in that section introduced. Taken as a whole, the book discusses how the themes in combination, with reference to the authorial group, are able to transform music pedagogy and performance for our global and complex world. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Author: Simon Zagorski-Thomas
Publisher: Routledge
ISBN: 1315467631
Category : Music
Languages : en
Pages : 400

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Book Description
The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.

Author: Gregory Young
Publisher: Routledge
ISBN: 1351847686
Category : Music
Languages : en
Pages : 304

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Book Description
Undergraduate Research in Music: A Guide for Students supplies tools for scaffolding research skills, with examples of undergraduate research activities and case studies on projects in the various areas of music study. Undergraduate research has become a common degree requirement in some disciplines and is growing rapidly. Many undergraduate activities in music have components that could be combined into compelling undergraduate research projects, either in the required curriculum, as part of existing courses, or in capstone courses centered on undergraduate research. The book begins with an overview chapter, followed by the seven chapters on research skills, including literature reviews, choosing topics, formulating questions, citing sources, disseminating results, and working with data and human subjects. A wide variety of musical subdisciplines follow in Chapters 9–18, with sample project ideas from each, as well as undergraduate research conference abstracts. The final chapter is an annotated guide to online resources that students can access and readily operate. Each chapter opens with inspiring quotations, and wraps up with applicable discussion questions. Professors and students can use Undergraduate Research in Music: A Guide for Students as a text or a reference book in any course that has a significant opportunity for the creation of knowledge or art, within the discipline of music or in connecting music with other disciplines.