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Artistic research and practice-based methodologies in music performance studies: a personal reflection

Bibliographic Details
Main Author: Telles, Ana
Publication Date: 2022
Language: por
Source: Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)
Download full: http://hdl.handle.net/10174/32702
Summary: The study of musical phenomenon has, for a long time, unfolded in two separate camps: indeed, declarative knowledge was mainly produced in universities, where Musicology and its different disciplines were taught, whereas procedural knowledge associated with the performance and composition of Music stemmed mostly from conservatories, music academies and active musicians. Quite recently, the central role of performance in the musicological debate, away from the supremacy of the written text (score), has been pointed out. Indeed, through his seminal writings on music as performance, Nicholas Cook (2014) suggested the centrality of performance in the investigation of the musical phenomenon. In the meanwhile, several authors and institutions have contributed to the definition of “artistic research” in Music (cf. AEC, 2015); it is understood that this specific type of research effectively combines declarative and procedural knowledge through practice-based objects, methods, and outcomes. As regards the enquiry about musical practice and creation, Pinheiro and Caires (2019) identified four levels of reflective depth to which I will relate, in the lines below, my most significant research projects. In doing so, I am drawn to conclude that my practice-based objetcts and methods have enabled me to achieve results otherwise not possible to tackle, while acknowledging that complementary methods (including from Social Sciences and Humanities) are necessary and beneficial. Even if artistic research in different artistic disciplines supposes an array of specific and differentiated methodological approaches, it benefits from interdisciplinary cooperation, as it shares identical purposes, large-scale methodologies and overarching preoccupations.
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spelling Artistic research and practice-based methodologies in music performance studies: a personal reflectionMusicPerformance Studiesartistic researchpractice-based methodologiesThe study of musical phenomenon has, for a long time, unfolded in two separate camps: indeed, declarative knowledge was mainly produced in universities, where Musicology and its different disciplines were taught, whereas procedural knowledge associated with the performance and composition of Music stemmed mostly from conservatories, music academies and active musicians. Quite recently, the central role of performance in the musicological debate, away from the supremacy of the written text (score), has been pointed out. Indeed, through his seminal writings on music as performance, Nicholas Cook (2014) suggested the centrality of performance in the investigation of the musical phenomenon. In the meanwhile, several authors and institutions have contributed to the definition of “artistic research” in Music (cf. AEC, 2015); it is understood that this specific type of research effectively combines declarative and procedural knowledge through practice-based objects, methods, and outcomes. As regards the enquiry about musical practice and creation, Pinheiro and Caires (2019) identified four levels of reflective depth to which I will relate, in the lines below, my most significant research projects. In doing so, I am drawn to conclude that my practice-based objetcts and methods have enabled me to achieve results otherwise not possible to tackle, while acknowledging that complementary methods (including from Social Sciences and Humanities) are necessary and beneficial. Even if artistic research in different artistic disciplines supposes an array of specific and differentiated methodological approaches, it benefits from interdisciplinary cooperation, as it shares identical purposes, large-scale methodologies and overarching preoccupations.CA2RE+2022-11-09T16:27:59Z2022-11-092022-01-01T00:00:00Zbook partinfo:eu-repo/semantics/publishedVersionhttp://hdl.handle.net/10174/32702http://hdl.handle.net/10174/32702porhttps://ca2re.eu/wp-content/uploads/2022/09/ca2re-02_09_22_duplo_compressed.pdfatelles@uevora.pt203Telles, Anainfo:eu-repo/semantics/openAccessreponame:Repositórios Científicos de Acesso Aberto de Portugal (RCAAP)instname:FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologiainstacron:RCAAP2024-01-03T19:33:43Zoai:dspace.uevora.pt:10174/32702Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireinfo@rcaap.ptopendoar:https://opendoar.ac.uk/repository/71602025-05-28T12:27:45.306242Repositórios Científicos de Acesso Aberto de Portugal (RCAAP) - FCCN, serviços digitais da FCT – Fundação para a Ciência e a Tecnologiafalse
dc.title.none.fl_str_mv Artistic research and practice-based methodologies in music performance studies: a personal reflection
title Artistic research and practice-based methodologies in music performance studies: a personal reflection
spellingShingle Artistic research and practice-based methodologies in music performance studies: a personal reflection
Telles, Ana
Music
Performance Studies
artistic research
practice-based methodologies
title_short Artistic research and practice-based methodologies in music performance studies: a personal reflection
title_full Artistic research and practice-based methodologies in music performance studies: a personal reflection
title_fullStr Artistic research and practice-based methodologies in music performance studies: a personal reflection
title_full_unstemmed Artistic research and practice-based methodologies in music performance studies: a personal reflection
title_sort Artistic research and practice-based methodologies in music performance studies: a personal reflection
author Telles, Ana
author_facet Telles, Ana
author_role author
dc.contributor.author.fl_str_mv Telles, Ana
dc.subject.por.fl_str_mv Music
Performance Studies
artistic research
practice-based methodologies
topic Music
Performance Studies
artistic research
practice-based methodologies
description The study of musical phenomenon has, for a long time, unfolded in two separate camps: indeed, declarative knowledge was mainly produced in universities, where Musicology and its different disciplines were taught, whereas procedural knowledge associated with the performance and composition of Music stemmed mostly from conservatories, music academies and active musicians. Quite recently, the central role of performance in the musicological debate, away from the supremacy of the written text (score), has been pointed out. Indeed, through his seminal writings on music as performance, Nicholas Cook (2014) suggested the centrality of performance in the investigation of the musical phenomenon. In the meanwhile, several authors and institutions have contributed to the definition of “artistic research” in Music (cf. AEC, 2015); it is understood that this specific type of research effectively combines declarative and procedural knowledge through practice-based objects, methods, and outcomes. As regards the enquiry about musical practice and creation, Pinheiro and Caires (2019) identified four levels of reflective depth to which I will relate, in the lines below, my most significant research projects. In doing so, I am drawn to conclude that my practice-based objetcts and methods have enabled me to achieve results otherwise not possible to tackle, while acknowledging that complementary methods (including from Social Sciences and Humanities) are necessary and beneficial. Even if artistic research in different artistic disciplines supposes an array of specific and differentiated methodological approaches, it benefits from interdisciplinary cooperation, as it shares identical purposes, large-scale methodologies and overarching preoccupations.
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2022-11-09
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203
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