Title: Creative Arts Practice as Research: A Case Study of 'The Flood'
Abstract:In tertiary music education there have been debates for a decade or more about the equivalences (or not) of creative arts practice with research (Shand 1998). These debates mostly revolve around resea...In tertiary music education there have been debates for a decade or more about the equivalences (or not) of creative arts practice with research (Shand 1998). These debates mostly revolve around research funding. Currently creative work is not recognised in the National Research Data Collection conducted by DEST; and the Australian Research Council will not directly fund composition or performance. Ironically, however, for research training degrees, a position has been reached in most Universities whereby creative work and performance are accepted as research. The catch is that invariably the creative submission or performance must be accompanied by a written component, sometimes referred to as an 'exegesis' (Krauth, 2002). But can work created in an artist's studio really be considered as research? Can the exegesis compensate for the vagaries of creativity and performance interpretation? This paper looks at the essential differences and similarities between a range of standard research concepts and practices and a variety of creative and performance practices. It considers the kinds of research practices that may be routinely used in composition or performance such as aesthetic reflection, review of background literature, musical analysis informing technique or aesthetic, reflection on the creative act, documentation of creative processes; analysis of ethnographic fieldwork data, and experiments relating to materials and processes. The author's recently composed music theatre score for The Flood (2004) is used as a case study to illustrate creative connections with research practices.Read More
Publication Year: 2004
Publication Date: 2004-01-01
Language: en
Type: article
Access and Citation
Cited By Count: 2
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