Artistic Practice as Research in Music: Theory, Criticism, Practice

283 Pages·2015·1.836 MB·English

by  Mine Dogantan-Dack

Artistic PrActice As reseArch in Music:
theory, criticisM, PrActice
seMPre studies in
the Psychology of Music
series editors
Graham Welch, Institute of Education, University of London, UK
Adam ockelford, Roehampton University, UK
ian cross, University of Cambridge, UK
The theme for the series is the psychology of music, broadly defined. Topics
include: (i) musical development at different ages, (ii) exceptional musical
development in the context of special educational needs, (iii) musical cognition
and context, (iv) culture, mind and music, (v) micro to macro perspectives on
the impact of music on the individual (such as from neurological studies through
to social psychology), (vi) the development of advanced performance skills and
(vii) affective perspectives on musical learning. The series presents the
implications of research findings for a wide readership, including user-groups
(music teachers, policy makers, parents), as well as the international academic and
research communities. The distinguishing feature of the series is this broad focus
(drawing on basic and applied research from across the globe) under the umbrella
of SEMPRE’s distinctive mission, which is to promote and ensure coherent and
symbiotic links between education, music and psychology research.
other titles in the series
Advanced Musical Performance:
Investigations in Higher Education Learning
edited by ioulia Papageorgi and Graham Welch
Coughing and Clapping: Investigating Audience Experience
edited by Karen Burland and stephanie Pitts
Collaborative Creative Thought and Practice in Music
Edited by Margaret S. Barrett
Embodied Knowledge in Ensemble Performance
J. Murphy McCaleb
Developing the Musician
Contemporary Perspectives on Teaching and Learning
edited by Mary stakelum
Artistic Practice as
research in Music:
theory, criticism, Practice
Edited by
MİnE DoğanTan-DaCk
University of Oxford, UK
© Mine Doğantan-Dack and the contributors 2015
all rights reserved. no part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior permission of the publisher.
Mine Doğantan-Dack has asserted her right under the Copyright, Designs and Patents act,
1988, to be identified as the editor of this work.
Published by
Ashgate Publishing Limited Ashgate Publishing company
Wey Court East 110 Cherry Street
Union Road Suite 3-1
Farnham Burlington, VT 05401-3818
surrey, Gu9 7Pt usA
england
www.ashgate.com
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
The Library of Congress has cataloged the printed edition as follows:
Artistic practice as research in music : theory, criticism, practice / edited by Mine
Doğantan-Dack.
pages cm.—(SEMPRE studies in the psychology of music)
Includes bibliographical references and index.
ISBn 978-1-4094-4545-6 (hardcover)—ISBn 978-1-4094-4546-3 (ebook)—ISBn 978-
1-4724-0615-6 (epub) 1. Musicology. 2. Music—Performance. I. Doğantan, Mine.
ML3797.a77 2015
780.72—dc23
2014033495
ISBn: 9781409445456 (hbk)
ISBn: 9781409445463 (ebk – PDF)
ISBn: 9781472406156 (ebk – ePUB)
Bach musicological font developed by © yo tomita
Printed in the united Kingdom by henry Ling Limited,
at the Dorset Press, Dorchester, Dt1 1hD
To John and Yasemin,
with love and devotion
This page has been left blank intentionally
Contents
List of Figures and Table ix
List of Music Examples xi
Notes on Contributors xiii
Series Editors’ Preface xvii
Acknowledgements xix
Introduction 1
Mine Doğantan-Dack
PART I InsTITuTIonAl And CRITICAl PeRsPeCTIves
1 Performing Research: Some Institutional Perspectives 11
Nicholas Cook
2 Practising Research, Playing with Knowledge 33
Celia Duffy and Stephen Broad
3 Artistic Research and Music Scholarship: Musings and Models
from a Continental European Perspective 53
Darla Crispin
4 Determination and Negotiation in Artistic Practice as Research
in Music 73
Anthony Gritten
PART II dIsCIPlInARy And MeThodologICAl Issues
5 Practice-based Music Research: Lessons from a Researcher’s
Personal History 93
Jane W. Davidson
6 Following Performance across the Research Frontier 107
Kathryn Whitney
viii ArTiSTiC PrACTiCE AS rESEArCh iN MuSiC
7 The (F)utility of Performance Analysis 127
John rink
8 Imaginary Workscapes: Creative Practice and Research
through Electroacoustic Composition 149
John Young
PART III sPeCIfIC PRojeCTs
9 The Role of the Musical Instrument in Performance as
Research: The Piano as a Research Tool 169
Mine Doğantan-Dack
10 Creating New Music for a Redesigned Instrument 203
Christopher redgate
11 Improvisations Towards an Origin: The Steel Cello and the
Bow Chime 219
Adrian Palka
12 FLAT TIME/sounding 237
David Toop
index 255
List of Figures and Table
Figures
3.1 From musical practice to artistic research 58
3.2 Polarised properties of research and artistic practices 65
3.3 Four domains: Research, Criticism, Artistic Research,
Artistic Practice 65
3.4 Twin axes: Subjective/Objective, Cognitive/Affective 66
3.5 Matrix of different emphases from practice to research 67
5.1 The action research cycle in which practitioners gain insight
into current practice and trial ideas for change 101
5.2 Engeström’s activity system model applied to the opera
project under examination, taken from Davidson (2014) 103
7.1 Chopin, Prelude in B minor Op. 28 No. 6: rhythmic reduction,
showing hypermetrical properties 135
7.2 Chopin, Prelude in B minor Op. 28 No. 6: ‘enactment’ on the
keyboard, bars 1–2 137
7.3 Chopin, Prelude in B minor Op. 28 No. 6: ‘enactment’ on the
keyboard, bars 3–4 138
7.4 Chopin, Prelude in B minor Op. 28 No. 6: ‘enactment’ on the
keyboard, bars 13–14 (LH = left hand) 139
7.5 Chopin, Prelude in B minor Op. 28 No. 6: ‘enactment’ on the
keyboard, bars 23–24 (LH = left hand; RH = right hand) 141
7.6 Chopin, Prelude in B minor Op. 28 No. 6: contour map of left-
and right-hand parts 142
7.7 Chopin, Prelude in B minor Op. 28 No. 6: performative
parameters in profile 144
11.1 Steel Cello. Source: Photo by Jonathan Shaw 2014 220
11.2 Bow Chime. Source: Photo by Wolfram Spyra 2012 220
Table
7.1 Chopin, Prelude in B minor Op. 28 No. 6: phrase structure
of the notated music (as defined in number of bars) 136