A Piece of Music as a Result of the Artistic Research

2021

Artistic research is concentrated on the creative process resulting into an art work, challenging an artist to study his/her own creative process and to penetrate into the depths of this process. It is conducted in all artistic directions, and the process of achieving results may go beyond a separate discipline and move to the transdisciplinary field. Therefore, it is natural that often artistic research methods intersect with methods of other research traditions, contributing to accumulation of knowledge. Though, what is the nature of knowledge that is gained through artistic and not scientific research? Art and science form a single cultural space used for the development of humanity. This means that the research carried out by the artist in any case meets some scientific criteria, while maintaining artistic approaches. Thus, artistic research conducted by an artist not only reflects the nature of a work of art, but also contains to some extent the attributes characteristic of the...

2020

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 suc cessful 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 SouthEast Asia and Australia, this book examines the social, political, his torical 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 impor tance 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 intro duced. Taken as a whole, the book discusses how the themes in combination, with refer ence to the authorial group, are able to transform music pedagogy and performance for our global and complex world.

Research-Creation in Music and the Arts, 2017

lab. Research-Creation in Music and the Arts is largely an English translation of their 2013 book, Les enjeux de la recherche-création en musique; however, the examples have been updated and the structure reorganized. 1 This book is especially welcome given that "research-creation" is easily confused with similar-sounding terms such as "arts-based research," "research-led practice," or "practice-based research." Here, Stévance and Lacasse explain precisely what distinguishes research-creation, what constitutes a researchcreation project, and how to involve students in the process. The book is divided into three large chapters. In chapter 1, the authors discuss the role of fine arts within North American and European universities from the mid-twentieth century onwards, with a particular focus on the Quebec system. Chapter 2 describes some of the specific challenges that are encountered in developing research-creation projects in university music faculties and training students in this area. In chapter 3, the authors offer a precise definition of research-creation, delimit its scope, and provide recommendations concerning best practices and methodological approaches.

Knowing in Performing, 2021

Artes. Journal of Musicology

Stages of both processes – research and creation – are depicted and proposed as tools for understanding the uniqueness of the musical triad: musicology, interpretation, composition. Although the borderlines between them are fuzzy and the interconnections powerful, we can find sufficient reasons to compare these different ways to obtain knowledge and to generate results in the field of music. The proposition of a single model for all three areas takes into account the following stages: information, analysis, design, processing (combining intuition with rational procedures), adaptation, finalization. Similarities between the processes of musical research and musical creation are expressed and emphasized with examples, maps and figures.

Artistic research has fully established itself in the curricula of higher musical education in Europe. The strong associations between artistic research in music and music-making in service of research pose a challenge for those traditional musicologists and ethnomusicologists who wish to incorporate music-making in their research practices. Especially with the emergence of an ever stronger artistic research scene in the genre of folk music, it may be argued that the role of music-making as a method for ethnomusicological en-Svensk tidskrift för musikforskning vol. 95-2013 Artistic Research in Music versus Musicological Musicianship 78

Invenzione musicale (Musical invention) is a book by Renata Zatti (1932-2003) that will be published posthumous [1]. Invenzione musicale is an unusual manuscript that may be read as an unconventional handbook for young composers and a novel as well. The contents of this article establish the type of musical education that should be used in a teacher-pupil relationship, as outlined by Renata Zatti. Musical creativity should be an interplay between the two poles of the complete liberty based on inner competences and a guided technical learning. It has been said that composition cannot be taught and the most the teacher can do is to guide the student in his/her work [2]. Musician and self-taught composer Renata Zatti [3] wrote a book in the ‘80s trying to show this vision. The book is staged as a Plato’s dialogue, and it is based on two characters: the teacher (R. Zatti) and the pupil (Carlo). This character really existed: Carlo was born in 1970 and took very pleasant musical lessons, as he recalls, with his aunt during the first half of the ‘80s. The materials they produced became materials for the book. The narration follows the progression of creative exercises in musical simple compositions, in terms of musical theory, forms, traditional and modern harmony (examples are taken from XVII to XX Century). The dialogue follows the interwoven and dynamic act of creating, planning, doing, and readjusting. The research I am presenting can be located in the framework of musicological research, philological research (all known sources pertaining the generative process of this book were gathered: working documents, letters, memos, and sketches) and, more specifically, in the teaching of music to young students. This paper presents the main findings of the study of this book and its writing, with competences and issues from which music teachers could benefit.

The phenomenon of interdisciplinarity in the context of science and arts in Croatian scientific, artistic and educational practice raises numerous issues. One of them is how to link arts and research in humanities. The paper draws from the connections between science and art established by the research community of Laval University in Quebec, Canada by founding a new discipline of research-creation (Fr. recherche-création). The aim of this paper is to establish the existence of interdisciplinary projects in Croatia by giving two examples of interdisciplinary research which can be classified as research-creation projects. The presented data confirm the existence of such a project whose results have not only practical implications, but also bring theoretical innovation resulting from research to the field of musicology and performing arts, as well as musical education and education in general.

Musicae Scientiae, 2016

1992