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)

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)

Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. This book contributes to the renewal of this field by being the first to address the potential of artistic research in developing student-centred approaches and greater student autonomy. This potential is demonstrated in chapters illustrating artistic research projects that are embedded within higher music education courses across Europe, with examples ranging from instrumental tuition and ensemble work to the development of professional employability skills and inclusive practices. Bringing together diverse and experienced voices working within Higher Music Education but often also as professional performers, this edited collection pairs critical reflection with artistic insight to present new approaches to curricula for teaching interpretation and performance. It calls for greater collaboration between Higher Education and professional music institutions to create closer bonds with music industries and, thereby, improve students’ career opportunities. Teaching Music Performance in Higher Education will appeal to scholars, performers, teachers, but also students whose interests centre on innovative practices in conservatoires and music departments.

The contributions to this Festschrift, honouring the distinguished Irish musicologist Harry White on his sixtieth birthday, have wide repercussions and span a broad timeframe. But for all its variety, this volume is built around two axes: on the one hand, attention is focussed on the history of music and literature in Ireland and the British Isles, and on the other, topics of the German and Austrian musical past. In both cases it reflects the particular interest of a scholar, whose playful, sometimes unconventional way of approaching his subject is so refreshing and time and again leads to innovative, surprising insights. It also reflects a scholar, who – for all the broadening of his perspectives that has taken place over the years – has always adhered to the strands of his scholarly preoccupations that have become dear to him: the music of the 'Austro-Italian Baroque', and Irish musical culture first and foremost. An international cast of authors announces the sustaining influence of Harry White's wide-ranging research. Professor Dr Thomas Hochradner Chair of the Department of Musicology University of Music and Dramatic Arts Mozarteum Salzburg

Postgraduate Research in Music: A Step-by-Step Guide to Writing a Thesis is an essential text for music students who are undertaking postgraduate research. Unique in its approach and scope, this is a "how to" book, a practical guide that sets out, step-by-step, how to write a thesis. It discusses all key aspects of the research process in the order in which they are encountered, from the initial stages of a research project to completion of a thesis. It also offers a music-specific focus, with explanations and examples that are immediately relevant for all music research and which take into account the special characteristics of music as a discipline. At the same time, the book provides a useful teaching framework for lecturers. All key concepts are illustrated with music-relevant examples. Exercises, and in some chapters class seminar topics as well, are included to reinforce the concepts being discussed. Reading lists are appended at the end of most chapters, enabling students to explore topics in greater depth. Valuable supplementary information, such as referencing examples, is provided in the appendices. Postgraduate Research in Music is based on the premise that there are certain principles that underpin good scholarship, regardless of the area in which the research is conducted. In distilling and discussing these principles, this book speaks to all scholars working within the discipline of music.

Where is the academic study of music today, and what paths should it take into the future? Should we be looking at how music relates to society and constructs meaning through it, rather than how it transcends the social? Can we ‘remix’ our discipline and attempt to address all musics on an equal basis, without splitting ourselves in advance into subgroups of ‘musicologists’, ‘theorists’, and ‘ethnomusicologists’? These are some of the crucial issues that Nicholas Cook has raised since he emerged in the 1990s as one of the UK’s leading and most widely read voices in critical musicology. In this book, collaborators and former students of Cook pursue these questions and others raised by his work—from notation, historiography, and performance to the place of music in multimedia forms such as virtual reality and video games, analysing both how it can bring people together and the ways in which it has failed to do so.

Artistic Research: Charting a Field in Expansion provides a multidisciplinary overview of different discourses and practices, exploring cutting-edge questions from the burgeoning field of artistic research. Intended as a primer on artistic research, it presents diverse perspectives, strategies, methodologies, and concrete examples of research projects situated at the crossroads of art and academia, exposing international work of significant projects from Europe, Asia, Australia, South and North America. The book includes chapters on diverse fields of thought and practice, addressing a common thread of questions and problematics. The comprehensive editors’ introduction offers a much-needed extensive overview of practice-based artistic research in general. This book is ideal for graduate students across philosophy, cultural studies, art, music, performance studies and more.

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.

Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.

This project addresses the contexts of Practice as Research and how to undertake it. This second iteration updates thinking and practices but sustains a direct and clear approach on how to become a practitioner-researcher. New features include an extension of range “beyond” the arts and a case for intra-disciplinarity in Practice Research as an influence in the formation of the “future university”. A comparison is made between Artistic Research and Practice Research recognizing that research through practices with being-doing-knowing is central to both. Acknowledging the current crisis in legitimation, a broad view is taken of how things might be known by an onto-epistemology for the twenty-first century foregrounding the bodymind but sustaining rationality and community by way of Other/other dialogic exchange. Perspectives from around the world in Part II offset the more Eurocentric emphasis in Part I.