Music and Knowledge: A Performer's Perspective

2017

Performance Practice Review, 2012

Artistic Research in Music: Discipline and Resistance

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2019

Journal of aesthetic education, 1991

Saryn, 2024

The article presents a new look at music history from the versatility of the musician’s creative activity point of view, which manifests itself in the diversity of his talent, the multiplicity and cultural breadth of his creative interests. In the field of creative activity, versatility was an integral property of professional musicians both in various cultural traditions and in Western European music until the 18th century. The research methodology is based on a combination of a comprehensive value method and comparative analysis, which helps to form a holistic idea of the creative versatility in a broad aesthetic, cultural, social, historical and scientific context. The phenomenon of combining the activities of a composer and a pianist in a modern context encourages the study from the standpoint of musical sociology. The exploration of piano style justifies the use of the provisions and approaches of the performance interpretation theory. In modern conditions, the musician’s self-realization in various traits is once again becoming relevant, which allows for the expansion of the field of creative self-expression and stimulates innovative thinking. Versatility of a creative person is influenced by the aspects of the ethnic worldview and is closely connected with oral proficiency, in which the original syncretism of creativity serves as the foundation for combining functions and expressing diversity. A long process of separating different musical types of activity was influenced by various historical, sociocultural and aesthetic factors. It is associated with two specialization sources – the authorship personification of the oral tradition bearer and the standardization of the sacred music performance, which subsequently led to the emergence of notation. The article also proposes a typology of the versatility of creative activity, due to the differences in psychological and cognitive-behavioral aspects: the syncretic type (oral tradition bearer), in which the roles of the composer and performer closely bound and can’t be separated, and the synthetic type associated with personal desires and motives (musicians of the written traditions). The results of the conducted study have shown that the final separation of the musical activity functions has not been fully achieved, and probably will not happen in the future due to the psychological nature of the musical process and creativity.

Music and Knowledge: A Performer's Perspective, 2017

Music as knowledge The very notion of artistic research suggests that some form of new knowledge might spring from such an activity. Before confronting the thornier question of specifically musical knowledge, we must at least consider that such an idea presupposes the broader possibility of cultural knowledge: the understanding or potential for transformation— shared or individual, lasting or temporary—that is a response to cultural activity. We might even suggest that the generation of such knowledge is the function (or evidence) of cultural behaviour. The activity of musicians, then, is to engage on some level with the production of cultural knowledge. Irreducible to epistêmê or technê, cultural knowledge requires a context, some degree of common experience, however tacit or individually interpreted, if it is to enter the stream of cultural consciousness. " Research " suggests reflection—the search for knowledge rather than its incidental generation. The knowledge production inherent in reflective musical practices becomes and needs to become more explicit at certain moments of cultural evolution—and I suggest that the present is such a moment. This emerging-into-discourse entails some kind of bidirectional mapping or projection as part of such a mediated percolation of ideas—hence the naturally multidisciplinary nature of artistic research. Our technology-informed moment is also particular in this respect: the mapping, transposition, and re-representation of structures, data, or concepts is a key operator of contemporary culture. Reflective musicians find themselves surrounded by a universal culture—allowing for historical extinction and geographical ignorance—with which they have to form some kind of relationship, and yet any knowledge they make of it must be grounded in their own

Nordic Research in Music Education. Yearbook, Vol. 16, 2015