Introduction

Collins, Nick; d'Escrivan, Julio

doi:10.1017/9781316459874.002

Cited by 1 publication

(1 citation statement)

References 112 publications

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“…For example, the analysis of musical scores requires experience and expertise in identifying and applying appropriate conventional and contemporary analytical methods, such as harmonic and melodic analysis, thematic analysis, functional analysis, set analysis, Schenkerian analysis, graphic analysis, and spectral analysis, based on the genre, style, form, musical elements, performance directions and interpretations of practice. The analysis of electronic music and electroacoustic music necessitate the mastery of technology driven skill sets (Collins & D'Escrivan, 2017). New ways of analyzing traditional, folk, and intercultural music are needed as conventional approaches may be inadequate in deciphering the soundscape and elements of music and musical instruments communicated through the oral and aural traditions.…”

Section: Crafting the Methodological Designmentioning

confidence: 99%

Practice-Based Methodological Design for Performance-Composition and Interdisciplinary Music Research

Ross

2022

MJM

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Practice-based research has gained increasing prominence in the field of creative arts enquiry. Its engagement has fueled disruptive discourse on its nature, methodology and application in music research. Textbooks and journal publications on practice in arts-based research and a host of eminent practitioner-scholars have contributed to this nascent field of study. Several of these publications focus on the creative arts industry with fewer discourse on practice-based research approaches in the subdomains of music. This article deliberates on the multi-facets of practice-based approaches in performance, composition, and interdisciplinary music research. It shares the process of crafting methodological designs that encapsulate research in and of practice. Keywords that frame practice-based techniques include terms such as praxis, divergent and multi-methodological processes, design thinking, and research about/through/for practice as represented by performative-compositional artefacts and their accompanying discourse. Two exemplars are discussed. It argues that practice-oriented research transcends discipline borders encompassing interdisciplinary domains within multidisciplinary co-creational practice. In the author’s music-health studies, she views the interdisciplinarity of science-arts research as interpolated dimensions of collaborative scientific knowledge within an embodied cultural space that yields transformative creativities of translational research to reach its targeted community of users. Practice-centred research in music therefore embraces spheres of investigations with research-informed practice as its focus and its artefacts and discourse as inputs of and outputs from that research, incorporating the overarching paradigms of practice-led research, practice-based research, and creative research in the performing arts.

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Section: Crafting the Methodological Designmentioning

confidence: 99%

Practice-Based Methodological Design for Performance-Composition and Interdisciplinary Music Research

Ross

2022

MJM

View full text Add to dashboard Cite

show abstract

Introduction

Cited by 1 publication

References 112 publications

Practice-Based Methodological Design for Performance-Composition and Interdisciplinary Music Research

Practice-Based Methodological Design for Performance-Composition and Interdisciplinary Music Research

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