Half Title, Title Page, Copyright

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Table of Contents

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pp. 5-8

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Introduction

Jonathan Impett

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pp. 9-12

Artistic research did not emerge fully-fledged. It is—and continues to be—a tendency, a dynamic grouping energised by several drivers: a questionable need to quantify and valorise knowledge production across different fields, an understandable move to create parity among academic disciplines and institutions, and a visionary urge to expand our common understanding of the nature of knowledge. ...

Part 1: Current Research

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pp. 13-14

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Rasch24: The Somatheme

Paulo de Assis

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pp. 15-42

On different occasions and in different texts, interviews, and seminars, Gilles Deleuze reiterated the idea that philosophy consists in the creation of concepts: “philosophy is the art of forming, inventing, and fabricating concepts” (Deleuze and Guattari 1994, 2). This principle, this understanding of philosophy as a creative practice with the power to engender new concepts, or to make ...

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The C-natural That Wants to Be a C-sharp: Visions and Realities of Beethoven’s Broadwood

Tom Beghin

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pp. 43-87

For months, I’ve felt intrigued by a single note, unnoticed in Beethoven scholarship and performance, but there it is: on the second beat of m. 41 of the first movement of Beethoven’s Piano Sonata in E Major, opus 109, we read as the top voice a c♯4 (see figure 2.1, top).1 This 1821 edition is by Schlesinger in Berlin, the first of this treasured repertoire piece. Lest there be any doubt, the C is printed higher than the A just one beat before. ...

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Thinking-through-Music : On Knowledge Production, Materiality, Embodiment, and Subjectivity in Artistic Research

Stefan Östersjö

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pp. 88-107

This chapter discusses methods in and results from artistic research in music from the perspective of three artistic research projects, each linked to my work as part of a cluster of researchers at the Orpheus Institute looking at subjectivity in musical performance.1 This research cluster uses processes of artistic research to explore how subjectivity is instantiated and embodied ...

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Artistic Research Avant la lettre?: The Case of Glenn Gould’s Brahms Concerto Interpretation

Luk Vaes

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pp. 108-133

Plans for the proposed Orpheus Institute first circulated in 1996. The initial details did not yet include the term “research,” but they did introduce the idea of working with a mentor on a project that was too extensive to be realised within the curricular constraints that were then typical at a conservatory. An example of such a project would be to study all thirty-two Beethoven sonatas ...

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Searching for Depth in the Flat World: Art, Research, and Institutions

Esa Kirkkopelto

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pp. 134-148

According to the main argument of this article, artistic research—that is, research done by artists in, through, or by means of their artistic practice—opens a new chapter in the institutional critique in the arts by (a) creating research-based critical practices, and (b) establishing academic research in the arts as institutionally creative action. The article proceeds in two parts. ...

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On Research, Truth, and the Art of Making Music: An Essay from a Psychodynamic-Philosophical Point of View

Kari Kurkela

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pp. 149-162

It has to be admitted that the title of this paper is rather megalomaniacal. However, I think that these themes are all relevant to the Orpheus Institute and to many music schools around the world in which the challenges of research and education in music are faced. It is not my intention to do more than offer a glimpse of these ventures of the human mind from the perspective ...

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Two Decades of Artistic Research: The Antipodal Experience

Huib Schippers, Vanessa Tomlinson, Paul Draper

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pp. 163-171

The past two decades have seen the rapid rise of artistic research as a valid—and increasingly validated—scholarly pursuit. Triggered primarily by the gradual amalgamation of conservatoires and schools of music into the higher education sector in the Anglo-Saxon world since the Second World War and the Bologna process (from 1998) in mainland Europe, musicians have been inspired and stimulated ...

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Future Looking Back: Understanding Music as a Field of Knowledge One Hundred Years Ago

Leonella Grasso Caprioli

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pp. 172-180

Italy was one of the countries most closely involved in the reform of the Higher Education Area, initiated by the Bologna process, to which it has fully adhered since 1999. The reform, initiated by minister Luigi Berlinguer (1996–2000) openly pursued certain strategic objectives: human enhancement and growth, fully exercising citizenship rights, raising the cultural level of the country, ...

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New Knowledge from the Artist’s Perspective: On Artistic Research

Gertrud Sandqvist

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pp. 181-186

A doctoral students’ seminar. New doctorial candidates Alejandro and Imogen present their artistic work and the ways in which they have thought about their doctoral projects. Everyone comments on this in detail, analysing and making associations. In this first year, they will devote a lot of time to formulating and reformulating their research questions. ...

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Running in Circles, with “Music” in Mind

Susan Melrose

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pp. 187-210

What might be some of the implications—for practitioner research into composition, music-making, and performance—of my dogged insistence over the past decade that expert-intuitive process is a vital knowledge practice in art-making? I am aware that some readers, researchers, students, and art-makers might find that observation itself, and/or some of its parts, not only taxing ...

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Q and A: Towards a Practice of Artistic Research

Janneke Wesseling, Kitty Zijlmans

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pp. 211-220

One of the biggest challenges for PhD students is finding a research question. Without it, no serious research is possible. In fact, research is a way of asking questions, guided by a central research question. Often, the central question is only revealed at the completion of the research project: ...

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The Contemporary Musician and the Production of Knowledge: Practice, Research, and Responsibility

Jonathan Impett

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pp. 221-238

The very notion of artistic research suggests that some form of new knowledge might spring from such an activity. Before confronting the thornier question of specifically musical knowledge, we must at least consider that such an idea presupposes the broader possibility of cultural knowledge: the understanding or potential for transformation—shared or individual, lasting or temporary— ...

Part 2: Institutional Perspectives

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pp. 239-240

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A Conversation with Jo Bury

Ellie Nimeroski

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pp. 241-244

Jo Bury is Managing Director of the Vlaams Instituut voor Biotechnologie and Chair of the Orpheus Institute Research Advisory Council. Ellie Nimeroski is a docARTES researcher. We met on 16 September under the high ceilings of Orpheus’s first floor, the familiar sound of the passing tram in the background, to talk about artistic research as seen through the lens of a scientific institution. ...

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The Impossible Unity of Musical Practice?

Rémy Campos

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pp. 245-248

For the last twenty years, performance has been a privileged field of research that professional musical performers conduct in musical schools. This position seems to have many roots. First, many scholars hoped that practitioners’ opinions of their daily activity not only were legitimate but also could generate original knowledge useful to performers. Furthermore, ...

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Past—Present—Future

Frans de Ruiter

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pp. 249-253

My contribution to the festivities around twenty years of the Orpheus Institute touches upon the very beginning of Orpheus’s history and its overtures to the Royal Conservatoire at The Hague and Leiden University as early as in the year 2000, a time in which we dwelled upon terra incognita. Some insight into the events at the beginning of this century might in a certain sense ...

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Artistic Research at the University of Music and Performing Arts Graz: Interim Assessment and Perspectives

Robert Höldrich

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pp. 254-258

The dawn of artistic research! At least, as far as the field of music academies and arts universities within the German-speaking area is concerned. National funding agencies in Switzerland and Austria have launched programmes in artistic research. More and more job advertisements now require future teachers to be willing and able to plan “artistic development projects” or conduct ...

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From Audacious Vision to Impactful Reality: An Extraordinary Journey Worthy of Orpheus

Bernard Lanskey

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pp. 259-262

Achieving the milestone of twenty years of existence, particularly as a pioneering enterprise, deserves due acknowledgement and I am delighted to have been asked to contribute to the Orpheus Institute’s celebratory publication. The interim journey—charting a path into the unknown—will have no doubt been at times dramatic and even precarious, ...

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Of Orpheus and Artistic Research

Don McLean

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pp. 263-266

In music’s greatest myth, Orpheus descends into the underworld to bring his deceased wife Eurydice back to life. After gaining access, his music so moves Hades and Persephone, and even the three-headed hound of hell, Cerberus, that he is granted permission to lead Eurydice back to the human world. There is but one condition: He must not look back. If he does, she disappears forever. ...

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Whither Artistic Research?

Janet Ritterman

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pp. 267-269

Nowadays when people look for ways to mark twenty-year anniversaries, it is often to platinum that they turn—an element admired as much for its distinctive properties as for its intrinsic value. Regarded as precious not simply because of its rarity (it is found in relatively few locations) but also because of its ductile qualities (it can be spun out very finely), ...

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The Orpheus Institute: The Driving Force behind the “Artistic Research Movement”

Georg Schulz

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pp. 270-273

What today we call artistic research had been conducted before the Orpheus Institute was founded. Nikolaus Harnoncourt and Alfred Brendel—to mention two outstanding musicians connected to my home town, Graz—developed research questions from their splendid artistic practice. ...

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Making Research Sound

Peter Tornquist

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pp. 274-277

Is playing a Beethoven sonata artistic research? Do some performances contribute more to insight and understanding than others? If so, how can we evaluate this? What is the proper medium of documentation: a recording, a critical edition, a peer-reviewed article? Is premiering a new work more research-worthy? ...

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Conservatoires in Flux: Research in the Arts in the Flemish Conservatoires of the Twenty-First Century

Kevin Voets

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pp. 278-295

The first institution of higher education in Belgium to use Dutch as an official language was a music school. When in 1898 Peter Benoit became the director of the Royal Flemish Conservatoire in Antwerp he took the opportunity to introduce a teaching system that did not aim at training virtuoso artistes but at educating “thinking men and women.” Thus, from the very beginning ...

Appendix

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p. 296

Notes on Contributors

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pp. 297-306

Index

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pp. 307-311

Orpheus Institute Info

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p. 313

Series Information

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p. 314