As Artistic Research (AR) is gaining momentum in academia and the movement has begun to affect the industry, in this qualitative study we ask how contemporary art music composers in Finland think of artistic doctoral education in the field of composition. Ten bigenerational composers participated in open interviews in which they were asked to reflect on AR both as a discipline and as a pathway in doctoral studies in relation to composers’ professional practice. A qualitative thematic analysis based on the “dialogic engagement practice” approach revealed certain benefits and challenges related to a) doctoral studies in AR, and b) the dynamics between composition and AR. In particular, participants noted a division between doctoral candidates enrolled in AR doctoral programs for self-focused artistic introspection (single-loop-learning) and those who connect their studies with activist and societal issues that go beyond personal inquiry (double-loop learning). Furthermore, issues of whether AR in composing could be considered research, or not, were also articulated. Based on these key aspects, the authors offer a conceptual learning triangulation between research, education, and self-development that could inform AR doctoral education curricula.
This report chronicles the author’s participation in the Doctors in Performance (DiP) Festival Conference, September 2021, at the Estonian Academy of Music and Theatre, Tallinn. It is the fourth edition of DiP since its inauguration in 2014 at the Sibelius Academy, Uniarts Helsinki. Since the start of the COVID-19 pandemic in Europe in early 2020, most conferenceshave been either postponed, cancelled or held online. This Conference is one of the first to be held as an in-person event as Europe starts to move towards a post-pandemic period. Some participants gathered in person (including the author), while parallel online participation was also enabled as a hybrid event. This report records the conference events as DiP enters into maturity with a focus on artistic research and music performance. It also describes the author’s impressions regarding issues of ‘liveness’ in varied categories, including spoken presentations, music performances, their online equivalents, live or prerecorded presentations and online or live participations.
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