The SAGE Handbook of Digital Dissertations and Theses 2012
DOI: 10.4135/9781446201039.n16
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Practice-as-Research in Music Performance

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Cited by 9 publications
(7 citation statements)
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“…Data were generated through autoethnography and journaling. A number of artist-researchers (Bartleet, 2009;Benetti, 2017;Dogȃntan-Dack, 2012) have been developing autoethnographic practices to describe and analyze their rehearsal and/or performance experiences. However, to date these autoethnographic practices have not encompassed large groups and frequently involve professional musicians or advanced students.…”
Section: Data Generationmentioning
confidence: 99%
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“…Data were generated through autoethnography and journaling. A number of artist-researchers (Bartleet, 2009;Benetti, 2017;Dogȃntan-Dack, 2012) have been developing autoethnographic practices to describe and analyze their rehearsal and/or performance experiences. However, to date these autoethnographic practices have not encompassed large groups and frequently involve professional musicians or advanced students.…”
Section: Data Generationmentioning
confidence: 99%
“…The field of music performance research includes various examples of the mapping of musicians’ experiences as they prepare and/or perform a musical work (Benetti, 2013; Doğantan-Dack, 2012; Ginsborg & Chaffin, 2011; Lisboa et al, 2012; Miklaszewski, 1989; Miksza, 2015; Young et al, 2003). However, the majority of existing studies feature professional musicians or advanced music students.…”
mentioning
confidence: 99%
“…This growing attention to the subjective experience of the performer has led musicians to become increasingly involved in the research process, whether as participants or as researchers themselves. A recent but rapidly expanding body of literature seeks to document the creative process from “within,” with performer-researchers investigating their own professional practice (Barrett et al, 2014; Doğantan-Dack, 2012; Fitch & Heyde, 2007; Gyger, 2014; Hayden & Windsor, 2007; Kanga, 2014; Roche, 2011; Roe, 2007). Following investigations into expert pianists’ rehearsal and performance practices led by Roger Chaffin (Chaffin, Imreh, & Crawford, 2002; Chaffin, Imreh, Lemieux, & Chen, 2003), a study by Eric Clarke, Nicholas Cook, Bryn Harrison, and Philip Thomas (2005) was one of the first of its kind to incorporate the perspectives of the composer, performer, and analyst, synthesising qualitative and quantitative methods in order to investigate the preparation and performance of a complexly notated piano work.…”
Section: Musical Performance Studies: a Move To The “Real World”mentioning
confidence: 99%
“…The pop concert is a social gathering organized around the musical performance prepared and delivered by the musicians to the audience. These performances have been studied from various viewpoints ranging from the cultural ramifications of the global music industry (Auslander 2006; Frith 1996) to the individual emotions and perceptions of the audience and musicians (Doğantan-Dack 2012; Thompson, Graham, and Russo 2005). Yet, live popular music concerts also offer a versatile social environment to study how less ostentatious, mundane interactional achievements such as reward applauses are successfully put together in situ (Barkhuus and Jørgensen 2008; Kurosawa and Davidson 2005, 113).…”
Section: Musical Interaction and Choreographymentioning
confidence: 99%