Artistic Practice as Research in Music

Theory, Criticism, Practice
Herausgeber: Dogantan-Dack, Mine

• Gebundenes Buch

Produktbeschreibung

Internationally renowned scholars and practitioners explore here 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 and explore further issues of assessment, methodology, technology, performer knowledge, live performance, artistic collaboration and the affordances of a musical instrument in relation to artistic research in musical performance.

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Produktdetails

• Verlag: Routledge
• Seitenzahl: 284
• Erscheinungstermin: 28. April 2015
• Englisch
• Abmessung: 240mm x 161mm x 20mm
• Gewicht: 595g
• ISBN-13: 9781409445456
• ISBN-10: 1409445453
• Artikelnr.: 43712896

Autorenporträt

Mine DoÄantan-Dack is a concert pianist and musicologist (BM/MM, The Juilliard School; PhD, Columbia University). She also holds a BA in Philosophy. Her books include Mathis Lussy: A Pioneer in Studies of Expressive Performance (2002) and the edited volume Recorded Music: Philosophical and Critical Reflections (2008). Mine is currently a Departmental Lecturer at the Faculty of Music, University of Oxford.

Inhaltsangabe

Contents: Introduction, Mine DoÄantan-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 DoÄantan-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.