{"id":264,"date":"2020-11-24T22:34:44","date_gmt":"2020-11-24T21:34:44","guid":{"rendered":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/?p=264"},"modified":"2020-11-24T23:46:41","modified_gmt":"2020-11-24T22:46:41","slug":"session-4","status":"publish","type":"post","link":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/session-4\/","title":{"rendered":"SESSION 4: Facing the Artistic Turn: Musicology and Artistic Research"},"content":{"rendered":"

Thursday, 26 November 2020<\/strong><\/p>\n\n\n\n\n\n\n\n
16:45 \u2013 18:15<\/strong><\/td>\nSESSION 4:<\/strong><\/p>\n

Facing the Artistic Turn: Musicology and Artistic Research<\/em><\/strong><\/p>\n

chair: Ana \u010cizmi\u0107 Grbi\u0107<\/td>\n<\/tr>\n

16:45 \u2013 17:15<\/td>\nAstrid Kvalbein:<\/p>\n

Artistic Research: New Epistemic Cultures in the Academy?<\/em><\/td>\n<\/tr>\n

17:15 \u2013 17:45<\/p>\n

 <\/td>\n

Marijan Tucakovi\u0107:<\/p>\n

Poetic Theories of Classical Music Performance: Introduction, References and (Practical) Considerations<\/em><\/td>\n<\/tr>\n

17:45 \u2013 18:15<\/td>\nChanda VanderHart\u30fbAbigail Gower:<\/p>\n

Two [Ivory] Towers? Performers, Modern Musicological Thought and Relevance in Higher Education Settings<\/em><\/td>\n<\/tr>\n

18:15 \u2013 18:45<\/td>\nRolf B\u00e4cker:<\/p>\n

Musicology and Artistic Research \u2013 Competitors or Allies?<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Astrid Kvalbein<\/strong><\/p>\n

Norwegian Academy of Music, Oslo<\/p>\n

astrid.kvalbein@nmh.no<\/em><\/p>\n

 <\/p>\n

Artistic Research: New Epistemic Cultures in the Academy?<\/strong><\/p>\n

Over the past 20\u201230 years, third cycle programmes for artistic research and development have been established within higher music education in\u00adsti\u00adtutions all over Europe as well as in other parts of the world. The over\u00adall aim of the programmes is to develop and disseminate knowledge about creative and performative labour and to enhance artistic processes as such. Altogether, the projects enrolled in the programmes draw on a wide range of scholarly disciplines, such as art\/music history and analysis, philosophy, aesthetics and performance studies, often in the form of cross-disciplinary investigations involving new technologies. The organi\u00adsa\u00adtion, output and forms of documentation do however vary significantly across institutions and countries.<\/p>\n

Several principal questions emerge from this rapidly expanding field. Among them are issues of what knowledge <\/em>anddissemination of know-ledge <\/em>implies within and between different artistic practices, and in rela\u00adtion to other \u2013 often older \u2013 scholarly regimes. While some protag\u00adonists claim that we are currently witnessing an \u201cartistic turn\u201d in the after\u00admath of the \u201cperformative\u201d and \u201cpractice\u201d turns, others criticise the out\u00adput from the programmes as being insufficient either as art or research, or both.<\/p>\n

Drawing on selected literature on artistic research, programme descrip\u00adtions, political documents and individual projects, this paper will discuss the alleged \u201cturn\u201d and its potential to bring new epistemic cultures <\/em>into aca\u00addemia, i. e. \u201chow what counts as knowledge and technology is ac\u00adcom\u00adplished in designated settings through specific strategies that gen\u00ader\u00adate, validate, and communicate scientific accomplishments\u201d (Knorr, Cet\u00adi\u00adna & Reichmann, 2015, p. 873). Particular attention will be paid to con\u00adflicts which might emerge, for instance, between the logics of the pro\u00adfessional art fields and the logics of institutionalised higher music educa\u00adtion and research. Another question is whether artistic research might hold a poten\u00adtial to challenge and revitalise musicology, in times of crisis.<\/p>\n

Key words: <\/strong>artistic research, musical practice, epistemic culture<\/p>\n

Astrid Kvalbein<\/strong> is a researcher specialised in Nordic and Norwegian music and history from the 1900s to the 2000s, currently the manager of a project on the history of the Norwegian Academy of Music. Her PhD thesis was about the composer and critic Pauline Hall (1890-1969), who also founded the Nor\u00adwe\u00adgian section of the International Society for Contemporary Music, Ny Musikk, and as a post-doc, she studied the early modernist composer Fartein Valen (1897-1952). Kvalbein is also a freelance writer and singer, with a particular interest in contemporary music.<\/p>\n

\n

Marijan Tucakovi\u0107<\/strong><\/p>\n

Elly Ba\u0161i\u0107 <\/em>Music School, Zagreb<\/p>\n

marijan.tucakovic@gmail.com<\/em><\/p>\n

 <\/p>\n

Poetic Theories of Classical Music Performance:<\/strong><\/p>\n

Introduction, References and (Practical) Considerations<\/strong><\/p>\n

Classical music performance can be defined as a three-stage process. The pre\u00adparatory phase is to master the work being performed. The second stage is the act of performance \u2013 performance itself \u2013 followed by the third stage in the form of reaction and consideration of performance. Classical music artist experiences are found in numerous interviews, auto\u00adbiographies and music reviews, masterclass workshops and docu\u00admen\u00adtaries about individual artists. Based on the consideration and insight of music reproductive artists, it is possible to identify what performers are most preoccupied with and how they approach the challenges of a lay\u00adered act of performance. Poetically formulated considerations form the basis for the formation of a system that, we may hold, can be considered as poetic theories of classical music performance. Similar examples are well known and classified in theatre studies, e.g. theories of production as Josette F\u00e9ral defines them. In other words, the theoretical background of our concept \u2012 poetic theories of classical music performance \u2012 is emerg\u00ading from the principle of theatre and performance studies: cross\u00adroads of theory and practice, abstractive and an embodied layer of per\u00adformance. We find similar research in the field of musical performance, published and edited by eminent authors such as Nicholas Cook, Guerino Mazzola and John Rink.<\/p>\n

Beside references based on theoretical background, this presentation is supported by examples and references by authors such as pianists Arthur Rubinstein, Charles Rosen, Alfred Brendel, Stephen Hough, music jour\u00adnalist Tom Service and conductors Leonard Bernstein, Zubin Mehta, Colin Durrant and Mark Wigglesworth, to name but a few. It seems that the concept of poetic theories of classical music performance may be a bright spot in the field of the science of art, in the time of post-postmodernism and contemporary scientific post-disciplines. Interpreting a musical per\u00adfor\u00admance from a performer’s perspective joins the recent rethinking of music as a performance.<\/p>\n

Key words<\/strong>: classical music, performance, poetic theories, pianism, conducting<\/p>\n

Marijan Tucakovi\u0107<\/strong> (Zagreb, 1983), pianist, piano teacher and choral con\u00adductor, completed his education at the Academy of Music, Zagreb. He is cur\u00adrently finalising his doctoral studies on the PhD Programme in Literature, Performance, Film and Cultural Studies, Faculty of Humanities and Social Sci\u00adences,\u202f<\/strong>University of Zagreb. His professional career includes numerous piano recitals, piano teaching at Elly Ba\u0161i\u0107<\/em> Music School, Zagreb and conduct\u00ading of various choirs. His scientific research is primarily related to Perfor\u00admance Stud\u00adies in Art Performance, including performance theory and the practice of pianism and conducting within the context of pianism and con\u00adduct\u00ading stage presence (concerts\/theatre\/acting), as well as within the literature, film and cultural context. His papers are published in several pro\u00adfes\u00adsional journals.<\/p>\n

\n

Chanda VanderHart1<\/sup><\/strong>\u30fbAbigail Gower<\/strong>2<\/sup><\/p>\n

University of Music and Performing Arts, Vienna<\/p>\n

vanderhart@mdw.ac.at1<\/sup><\/em>\u30fb<\/em>abigail.gower@students.mdw.ac.at2<\/sup><\/em><\/p>\n

\u00a0<\/strong><\/p>\n

Two [Ivory] Towers? <\/strong><\/p>\n

Performers, Modern Musicological Thought and Relevance in Higher Education Settings<\/strong><\/p>\n

What is musicology\u2019s reach beyond other musicologists? Musicology clear\u00adly caters to a limited audience, leading to existential concerns about its sur\u00advival. An implicit assumption in the field, however, is that musico\u00adlog\u00adi\u00adcal thought actively influences and informs musical practitioners, that per\u00adformers are active audiences for musicologists. The extent to which this is the case, however, is questionable. As between any two fields, gaps cer\u00adtainly exist between the worlds of musicology and per\u00adformance, a relation\u00adship largely established during university\/con\u00adserva\u00adtory studies. Better un\u00adder\u00adstand\u00ading the role and representation of modern musicological thought within the curricula of performance majors is key to ultimately closing any such gaps. This would, in turn, allow for twofold gains: providing musico\u00adlogical research on expanded audience and rele\u00advance, and facilitating the development of more self-aware performing musicians.<\/p>\n

In the interest of determining if, to what extent, and how modern musicological thought is represented and how it is perceived by musicians during their higher education studies, a sampling of institutions are exam\u00adined using socio-musicological approaches. Interviews are conducted with students, alumni and faculty at North American and German\/Austrian col\u00adleges, universities, and conservatories to explore what performance majors understand modern musicology to be and to what degree they are aware of developments within the field. Curricula is also scanned for modern musicological perspectives (i.e. publications within the past 30 years), to determine how up-to-date these exchanges are, and what exactly is cur\u00adrently provided in an undergraduate music major in classrooms. These case studies serve as representative samples to determine if, to what extent and how the worlds of modern musicological thought and performance educa\u00adtion intertwine, hypothesising that the future of the relevance of musicol\u00adogy as a discipline may be contingent on bridging the gap between research and practice.<\/p>\n

Key words<\/strong>: teaching structures, university, interdepartmental communication, pedagogy, interdepartmental structures<\/p>\n

Chanda VanderHart<\/strong> enjoys a tripartite, interdisciplinary career as a collab\u00adora\u00adtive pianist, Musikvermittlung<\/em> expert and historical musicologist. She re\u00adceived her BA summa cum laude<\/em> from the Eastman School of Music in solo piano performance, and three further degrees in vocal coaching and accom\u00adpa\u00adniment in Austria studying with Julius Drake, Carolyn Hague, Roger Vi\u00adgnoles and David Aronson, among others. From 2011 to 2016 she conducted intensive source research on programming practices of art song (Lied) and in the second half of the 19th century in Vienna creating a database of over 10,000 performances in Vienna. This formed the basis for her musicological dissertation at the University of Music and Performing Arts Die Entwicklung des Kunstliedes im Wiener Konzertleben zwischen 1848 und 1897 <\/em>[The Devel\u00adop\u00adment of Art Concerts in Vienna between 1848 and 1897<\/em>] which is cur\u00adrently being reworked into a book edited by Susan Youens. In her role as historical musicologist, VanderHart gave lectures last year at the Sorbonne, the Univer\u00adsity of Music and Performing Arts Vienna MDW, The Malta School of Music and the Institute for European Studies. She has publications for MDPI books, the Albert-Ludwigs-University Freiburg Centre for Popular Culture and Music and authored the lexicon article on Ernestine de Bauduin for MUGI (Music and Gender on the Internet). VanderHart is currently on faculty at the Vienna University of Music and Art).<\/p>\n

Abigail Gower <\/strong>is a PhD student in Musicology at the University of Music and Performing Arts Vienna. She comes originally from a performance back\u00adground, having previously received a BA in piano performance and a MA in collaborative piano. Last year, Gower\u2019s research into the relationship be\u00adtween World War I and musical culture in Paris has been presented in inter\u00adna\u00adtional conferences at Sorbonne University in Paris, and the University of Music and Performing Arts Vienna. This year she has been the recipient of scholarships for her dissertation from the Hanover University of Music, Drama and Media\u2019s Forschungszentrum Musik und Gender and the Mariann Steegmann Foundation. As part of a separate collaboration, Gower and VanderHarts\u2019 article Shifting Identities of Feminism to Challenge Classical Music Canon Practices: A Beginners Guide to Guerrilla Gender Musicology<\/em>, is forthcoming in an MDPI Books publication.<\/p>\n

\n

Rolf B\u00e4cker<\/strong><\/p>\n

Catalan School of Music for Higher Education (ESMUC), Barcelona<\/p>\n

rbaecker@esmuc.cat<\/em><\/p>\n

 <\/p>\n

Musicology and Artistic Research \u2013 Competitors or Allies?<\/strong><\/p>\n

Amongst the latest earthquakes in the overlapping territories of the arts and the academy there is a new paradigm labelled \u201cartistic research\u201d. A prom\u00adise of renovation for an all too conservative academy for some and a Black Friday for academic titles according to others, at the heart of the new para\u00addigm lies not research of the arts as much as research through the arts, an approach that one-handedly relegates traditional musicology to the con\u00adserva\u00adtive corner of epistemology.<\/p>\n

One cannot but feel reminded of the beginnings of institutionalised musi-cology, when the young discipline fought for recognition by more or less open\u00adly copying the epistemology of natural sciences. Today, it is the so\u00adcial and economic prestige of academic titles, ever more important in Bolo\u00adgna\u2019s neo-liberal attempt to transform universities into enterprises that attract artists to research. Unlike Adler and followers, though, who assumed scien\u00adtific methods, modern day artists claim to achieve aca\u00addemic recognition by making academic effort as easy as possible, going as far as considering an artistic product in itself to be research.<\/p>\n

Perhaps this would not be that serious if musicology had an undisputed aim shared by society and musicologists themselves; unfortunately, the disci\u00adpline has been appropriated by a vast array of political ideologies, and where this has not been the case, it has been degraded to a mere aux\u00adil\u00adiary science for performers. Within this panorama, it is more often than not the critique from the musicological left that joins forces with the artists\u2019 claim for titles, wielding philosophical weapons like subjectivity in auto-ethnogra\u00adphy against the supposed unbearable strictness of biblio\u00adgraph\u00adical research. More than giving a definite answer to the question raised at the begin\u00adning, this contribution intends to analyse under which circum\u00adstances artistic re\u00adsearch and musicology can potentially be allies, and what this challenge tells about the state of health of modern-day musicol\u00adogy.<\/p>\n

Key words<\/strong>: artistic research, musicology, aims, methods, academic titles<\/p>\n

Rolf B\u00e4cker<\/strong> studied Musicology, Romance Studies and Iberian and Latin American History at the University of Cologne, Germany, where he ob\u00adtained a PhD in Musicology with a thesis on “The Guitar as a Symbol: Meaning and Change within Spain’s Cultural Memory from the Middle Ages to the End of the Siglo de Oro<\/em>“. He received fellowships from the Instituto Cam\u00f5es<\/em>, the UOC (Open University of Catalonia) and the DAAD (German Academic Exchange Service). He currently works as head of stud\u00adies and full professor at the ESMUC (Catalan School of Music for Higher Education) in Barcelona, teach\u00ading German and Latin Phonetics, Aesthetics, Flamenco History, His\u00adto\u00adry of the 15th and 16th Century Music, and History of Musicology, amongst oth\u00aders, and is a member of several musicological societies. His main scientific interests, which constantly cross the boundaries between historical musicol\u00adogy and ethnomusicology, include semiotics and the inter\u00adchange between music and literature.<\/p>\n","protected":false},"excerpt":{"rendered":"

Thursday, 26 November 2020 16:45 \u2013 18:15 SESSION 4: Facing the Artistic Turn: Musicology and Artistic Research chair: Ana \u010cizmi\u0107 Grbi\u0107 16:45 \u2013 17:15…   Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[9,1],"tags":[],"class_list":["post-264","post","type-post","status-publish","format-standard","hentry","category-events","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/264","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/comments?post=264"}],"version-history":[{"count":3,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/264\/revisions"}],"predecessor-version":[{"id":317,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/264\/revisions\/317"}],"wp:attachment":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/media?parent=264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/categories?post=264"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/tags?post=264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}