Example 2. Elliott Carter, 90+11 As remarked by Sir Charles Hallé, who said that Chopin's performances of his Mazurkas 'appeared to be written, not in 3/4, but in 4/4 time, the result of his dwelling so much longer on the first note in the bar' (Eigeldinger, Chopin: Pianist and Teacher. p. 72). 12 It should be borne in mind that this is a very particular idiomatic use of rhythm for which an expanded concept of what 'three in a bar' means may be required.

This is the accepted version of the paper.This version of the publication may differ from the final published version. Abstract: John Croft's article 'Composition is not Research' challenges a conception and ideal of compositional work in academia which has grown in prominence over several decades in the UK. As a performer-scholar, who also writes non-performancerelated scholarship, I welcome this challenge, share some of Croft's reservations about the ways in which these conceptions often manifest themselves, and also have concerns about the rushed integration of practitioners into academia and the implications for more traditional forms of scholarship. However, I find many of Croft's formulations and assumptions too narrow, and instead argue that a good deal of the process of composition and performance does constitute research -grappling with difficult questions, exploring solutions, and producing creative work which embodies these solutions and from which others can draw much of value. Permanent repository link:John Croft's article 1 raises many important issues and has already served as a catalyst for a wider debate. I welcome this, although my own conclusions on the subject are quite different from his. Much literature on practice-as-research in several disciplines is written by those who stand personally to gain from wider acceptance of the concept and the lack of more sceptical voices leads to a lop-sided treatment.2 Croft's work in some ways acts as a counterbalance in this respect; what he identifies is a by-product of a British higher education sector in which many boundaries between university and conservatoire music departments have been broken down.3 This is in marked contrast to the situation in Germany, for example, with its non-negotiable doctorate + Habilitation qualification in order to obtain a permanent position in a university department, that few practitioners will have obtained unless they have developed large-scale elaborate theoretical frameworks, and demonstrated expertise in a second subject too.

This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent

No abstract

This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link