By Mine Doğantan-Dack
Inventive perform as learn in track: thought, feedback, perform brings jointly the world over well known students and practitioners to discover the cultural, institutional, theoretical, methodological, epistemological, moral and functional elements and implications of the quickly evolving zone of creative study in tune. via a variety of theoretical positions and case stories, and through setting up strong connections among theoretical debates and urban examples of inventive examine initiatives, the authors speak about the stipulations less than which inventive perform turns into a learn job; how practice-led examine is known in conservatoire settings; problems with review when it comes to musical functionality as learn; methodological probabilities open to tune practitioners coming into educational environments as researchers; the function of know-how in techniques of musical composition as study; the function and cost of performerly wisdom in music-analytical enquiry; concerns in terms of concert as a study procedure; creative collaboration and improvisation as examine instruments; interdisciplinary matters of the artist-researcher; and the connection among the affordances of a musical software and inventive examine in musical functionality. Readers will come clear of the e-book with clean insights in regards to the theoretical, serious and useful paintings being performed via specialists during this fascinating new box of enquiry.
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Extra info for Artistic Practice as Research in Music: Theory, Criticism, Practice
It was 1996, and I was representing music on a study group convened by the UK Council for Graduate Education (UKCGE). Our focus, to borrow the title of the report published the following year, was PracticeBased Doctorates in the Creative and Performing Arts and Design. The group was chaired by Christopher Frayling, at that time Rector of the Royal College of Art, and the other members came from various parts of the art and design sector. The point with which I couldn’t agree was that a practice-based doctoral submission must include a major textual component, consisting perhaps of 40,000 words, on the grounds that clarification of the research process is an essential element of any doctoral submission, and that artistic practice – of whatever kind – does not provide this.
However the point I want to make is that HIP was, and is, based on an iterative method in which knowledge flows in both directions between musicologists and performers. Not only is this an example of performance as research: HIP may be said to have established beyond doubt the viability and the value of performance as research. There is a parallel to HIP in AIP, though the acronym isn’t generally used: analytically informed performance can again be characterised – and this time more accurately – as the application of academic knowledge to practice.