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Since the 1970s, the landscape of higher education and research has been considerably altered by the integration of the arts within the university environment. Even though a form of research is inherent to artistic creation, the creative process is not comparable to the established procedures involved in academic research. As such, how can the imperatives of intellectual (and sometimes restrictive) rigour characteristic of scholarly endeavours be reconciled with the more explorative and intuitive approach of artistic creation? The concept of 'research-creation' allows artists and scholars to collaborate on a common project, acknowledging each participant’s expertise in the production of an artistic work that either generates theoretical reflections or has emerged from academic research. This fully revised and updated translation of Sophie Stévance and Serge Lacasse’s original French book offers an overview of the historical, political, social, cultural and academic contexts within which research-creation has emerged in Quebec and Canada, before similar (yet often divergent) conceptions appeared elsewhere in the world. Focussing primarily on the case of music, the book goes on to explore the pedagogical potential of research-creation within a university-based environment and proposes a clear and encompassing definition, as well as a theoretical model, of research-creation supported by concrete examples. By underscoring the reciprocal nature of this approach and the potential benefits of collaborative relationships, the authors’ vision of research-creation extends far beyond the field of music and art alone: rather, it has the potential to integrate all approaches and disciplines that seek to combine practice and research.
Since the 1970s, the landscape of higher education and research has been considerably altered by the integration of the arts within the university environment. Even though a form of research is inherent to artistic creation, the creative process is not comparable to the established procedures involved in academic research. As such, how can the imperatives of intellectual (and sometimes restrictive) rigour characteristic of scholarly endeavours be reconciled with the more explorative and intuitive approach of artistic creation? The concept of 'research-creation' allows artists and scholars to collaborate on a common project, acknowledging each participant's expertise in the production of an artistic work that either generates theoretical reflections or has emerged from academic research. This fully revised and updated translation of Sophie St�vance and Serge Lacasse's original French book offers an overview of the historical, political, social, cultural and academic contexts within which research-creation has emerged in Quebec and Canada, before similar (yet often divergent) conceptions appeared elsewhere in the world. Focussing primarily on the case of music, the book goes on to explore the pedagogical potential of research-creation within a university-based environment and proposes a clear and encompassing definition, as well as a theoretical model, of research-creation supported by concrete examples. By underscoring the reciprocal nature of this approach and the potential benefits of collaborative relationships, the authors' vision of research-creation extends far beyond the field of music and art alone: rather, it has the potential to integrate all approaches and disciplines that seek to combine practice and research.
The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.
In recent years, the rise of research-creation—a scholarly activity that considers art practices as research methods in their own right—has emerged from the organic convergences of the arts and interdisciplinary humanities, and it has been fostered by universities wishing to enhance their public profiles. In How to Make Art at the End of the World Natalie Loveless draws on diverse perspectives—from feminist science studies to psychoanalytic theory, as well as her own experience advising undergraduate and graduate students—to argue for research-creation as both a means to produce innovative scholarship and a way to transform pedagogy and research within the contemporary neoliberal university. Championing experimental, artistically driven methods of teaching, researching, and publication, research-creation works to render daily life in the academy more pedagogically, politically, and affectively sustainable, as well as more responsive to issues of social and ecological justice.
Using cine-ethnomusicology as a focus, Cineworlding introduces readers to ways of thinking eco-cinematically. Screens are omnipresent, we carry digital cinema production equipment in our pockets, but this screen-based technological revolution has barely impacted social science scholarship. Mixing existential phenomenological fiction about social science digital cinema research practice followed by theoretical reflection and discussion of methods, this book has emerged from a decade-long inquiry into cineworlding and a desire to help others produce digital media to engage creatively with the digital networks that surround us.
Feminist Speculations and the Practice of Research-Creation provides a unique introduction to research-creation as a methodology, and a series of exemplifications of research-creation projects in practice with a range of participants including secondary school students, artists, and academics. In conversation with leading scholars in the field, the book outlines research-creation as transdisciplinary praxis embedded in queer-feminist anti-racist politics. It provides a methodological overview of how the author approaches research-creation projects at the intersection of literary arts, textuality, artistic practice, and pedagogies of writing, drawing on concepts related to the feminist materialisms, including speculative thought, affect theories, queer theory, and process philosophy. Further, it troubles representationalism in qualitative research in the arts. The book demonstrates how research-creation operates through the making of or curating of art or cultural productions as an integral part of the research process. The exemplification chapters engage with the author’s research-creation events with diverse participants all focused on text-based artistic projects including narratives, inter-textual marginalia art, postcards, songs, and computer-generated scripts. The book is aimed at graduate students and early career researchers who mobilize the literary arts, theory, and research in transdisciplinary settings.
This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features*The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice*Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches*Presents illuminating case histories of creative work and practice-led research
The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of 'reaching out' and 'connecting together' – and in effect showing that there is emerging a different kind of 'global music'.
Drawing from an international authorship and having global appeal, this book scrutinizes, suggests and aggravates the relationships, boundaries and connections between arts, research and education in various contexts. Building upon existing publications in the field of arts-based educational research, it deliberately connects and disconnects the terms in order to expose and broaden the scope of this field thereby encouraging fresh perspectives. This book portrays both contemporary theoretical prospects as well as contemporary examples of practice. It also presents work of emerging scholars, thereby ‘growing the field’. The book includes academic text-based chapters, as well as poetry, narrative fiction, visual essays, and combinations of text-image-sound/video that demonstrate performance of music, theatre, exhibition and dance. This book provides and provokes critical dialogue about the forms, representations, dissemination and intersections of the arts, research and education. This is a focused collection and resource for scholars and students with an international authorship, perspective and audience.
Stephanie Springgay’s concept of feltness—which emerges from affect theory, queer and feminist theory, and feminist conceptions of more-than-human entanglements—is a set of intimate practices of creating art based on touch, affect, relationality, love, and responsibility. In this book, she explores how feltness is a radical pedagogy that can be practiced with diverse publics, including children, who are often left out of conversations about who can learn in radical ways. Springgay examines the results of a decade-long project in which researchers, artists, students, and teachers participated in events in North American elementary, secondary, and postsecondary institutions. In projects that ranged from children learning to be critics and artists to university students experimenting with building “a public” through art, participants blended participatory art creation with academic research to address social justice issues. Springgay shows how feltness can redefine who is imagined to be capable of complex feeling, experiential learning, embodied practice, social engagement, and intimate care. In this way, feltness fosters learning that disrupts and defamiliarizes schools and institutions, knowledge systems, values, and the legibility of art and research.