Music Research

Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.

Concise and practical, Music Research introduces students to the major print and electronic research tools available to them. This unique handbook does not aim to provide an exhaustive introduction to the subject; rather, it is highly selective and guides students to the most significant English-language research tools and resources, reference titles in major areas, and the principal sources in French, German, Italian, and Spanish. Now updated to reflect the growingemphasis on the digital humanities, this is the perfect guide for 21st century music scholars. The text is supplemented by a comprehensive Companion Website that includes supplement links, updates to available bibliographies and readings by chapter, research tools listed by composer, and lists ofcore music journals and major professional music associations.

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In Knowledge-Based Programming for Music Research, Schaffer and McGee explore expert systems for applications in artificial intelligence (AI). The text concerns (1) basic principles for knowledge-based programming, (2) concepts and strategies for programming these systems, (3) a "universal data" model for music analysis, and (4) examples that concern specific aspects of design and application. The authors also investigate Prolog (programming in logic), one of the most widely used computer languages for AI, and base some of their applications on the recent implication-based theories of Eugene Narmour. Of the applications for programming a knowledge-based system, music analysis has the most potential. Beyond identifying isolated elements, it is possible to create programs that extend to chord structures and other, more complex structures. This kind of programming allows the authors to embed the rules of composition in the application and then extend the analysis throughout the musical work. It also allows them to arrive at the underlying principles for a given composition. As a tool for music analysis, such programming has profound implications for further growth. The text is designed for musicians at various levels and could also be used in courses on computer-music programming. Parts of the book have been successfully used in courses on computer programming for music research, with which the authors have direct experience. The text includes extensive examples of code for use in individual Prolog applications and a comprehensive bibliography.

Pascal Programming for Music Research addresses those who wish to develop the programming skills necessary for doing computer-assisted music research, particularly in the fields of music theory and musicology. Many of the programming techniques are also applicable to computer assisted instruction (CAI), composition, and music synthesis. The programs and techniques can be implemented on personal computers or larger computer systems using standard Pascal compilers and will be valuable to anyone in the humanities creating data bases. Among its useful features are: -complete programs, from simple illustrations to substantial applications; -beginning programming through such advanced topics as linked data structures, recursive algorithms, DARMS translation, score processing; -bibliographic references at the end of each chapter to pertinent sources in music theory, computer science, and computer applications in music; -exercises which explore and extend topics discussed in the text; -appendices which include a DARMS translator and a library of procedures for building and manipulating a linked representation of scores; -most algorithms and techniques that are given in Pascal programming translate easily to other computer languages. Beginning, as well as advanced, programmers and anyone interested in programming music applications will find this book to be an invaluable resource.

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 successful 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 South-East Asia and Australian, this book examines the social, political, historical 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 importance 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 introduced. Taken as a whole, the book discusses how the themes in combination, with reference to the authorial group, are able to transform music pedagogy and performance for our global and complex world. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

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.

How do we develop musical creativity? How is musical creativity nurtured in collaborative improvisation? How is it used as a communicative tool in music therapy? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology and music therapy. The book celebrates the rich diversity of ways in which learners of all ages develop and use musical creativity. Contributions focus broadly on the composition/improvisation process, considering its conceptualization and practices in a number of contexts. The authors examine how musical creativity can be fostered in formal settings, drawing examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions. These essays will inspire readers to think deeply about musical creativity and its development. The book will be of crucial interest to music educators, policy makers, researchers and students, as it draws on applied research from across the globe, promoting coherent and symbiotic links between education, music and psychology research.