By Mine Doğantan-Dack
Creative perform as study in tune: conception, feedback, perform brings jointly across the world popular students and practitioners to discover the cultural, institutional, theoretical, methodological, epistemological, moral and useful features and implications of the quickly evolving sector of creative learn in song. via quite a few theoretical positions and case reports, and via constructing powerful connections among theoretical debates and urban examples of inventive learn initiatives, the authors talk about the stipulations lower than which inventive perform turns into a study job; how practice-led learn is known in conservatoire settings; problems with evaluation in terms of musical functionality as learn; methodological chances open to track practitioners coming into educational environments as researchers; the position of know-how in methods of musical composition as learn; the position and price of performerly wisdom in music-analytical enquiry; concerns with regards to concert as a examine approach; creative collaboration and improvisation as study instruments; interdisciplinary issues of the artist-researcher; and the connection among the affordances of a musical device and inventive study in musical functionality. Readers will come clear of the e-book with clean insights concerning the theoretical, serious and functional paintings being performed via specialists during this interesting new box of enquiry.
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Extra info for Artistic Practice as Research in Music: Theory, Criticism, Practice
The specific aim of the project’, she continues, ‘is to explore the cognitive and affective factors that shape live performances from the perspective of professional performers in the context of a piano trio … and to understand and theorise about the way performers continue to learn on stage’ (Doğantan-Dack 2008). It is also significant that whereas the formal outputs of the Leeds project all take the form of hard copy or web-based publications, those of the Alchemy project are events, ranging from workshops to concerts, with recordings being disseminated via the web.
16 Artistic Practice as Research in Music However, a more relevant example is the relationship between theorists and performers reflected – and promulgated – by books such as Wallace Berry’s Musical Structure and Performance, the aim of which is to explain, in the author’s words, ‘how … a structural relation exposed in analysis can be illuminated in the inflections of edifying performance’ (1989: p. 2). Put crudely, the idea is that the theorist knows how the music works, based on analysis of the score, and accordingly tells the performer how it should go.
The addition of the ‘A’ to its acronym amounted to a recognition of practice as research, in this way marking a departure from the principle adopted by the HRB that artistic practice might in certain contexts be regarded as equivalent to research, but could not be regarded as research in its own right. Instead, the AHRB took the view that practice could be conceptualised in terms of aims, objectives, questions and methods, and as such was essentially no different from other forms of research. The AHRB also had a much larger budget than the HRB (£36 million in its first year, rising to £44 million in the second year).