Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which:
Bring to light connections between contemporary topics in music, such as artistic research and career development;
Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and
Offer theoretical models to support the broad artistic and professional development in young musicians.
This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.
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xiii | |
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xiv | |
| Series editor's preface |
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xv | |
| Introduction |
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1 | (9) |
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1 | (2) |
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3 | (1) |
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4 | (6) |
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1 Rethinking music performance: the role of desired artistic outcomes |
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10 | (20) |
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10 | (2) |
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12 | (4) |
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General perspectives on performance |
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12 | (3) |
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15 | (1) |
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Music performance in higher music education |
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16 | (2) |
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Music performance in music industries |
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18 | (4) |
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18 | (2) |
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Live performance music industry |
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20 | (2) |
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Music performance and career issues |
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22 | (2) |
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24 | (3) |
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27 | (3) |
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2 Desired artistic outcomes: conceptualization and achievements |
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30 | (22) |
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30 | (2) |
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32 | (9) |
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32 | (4) |
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36 | (1) |
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37 | (4) |
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41 | (7) |
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The role of self-authorship |
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41 | (1) |
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Epistemological foundation |
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42 | (1) |
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43 | (3) |
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46 | (2) |
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48 | (2) |
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50 | (2) |
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3 Desired artistic outcomes in music performance: challenges and promotion |
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52 | (27) |
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52 | (2) |
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54 | (7) |
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55 | (3) |
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Moving from formalism to artistic research |
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58 | (3) |
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61 | (11) |
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Rethinking pedagogical principles: future directions |
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63 | (1) |
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Stimulating the `ethical traitor' |
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64 | (4) |
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68 | (4) |
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72 | (5) |
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77 | (2) |
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4 Exploring desired artistic outcomes: performers' perspectives (part I) |
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79 | (50) |
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79 | (1) |
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Exploring desired artistic outcomes in music performance: developing the strategy |
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80 | (1) |
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Implementing the strategy |
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81 | (1) |
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82 | (43) |
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83 | (6) |
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89 | (7) |
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96 | (4) |
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100 | (7) |
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107 | (9) |
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116 | (9) |
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125 | (2) |
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127 | (2) |
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5 Exploring desired artistic outcomes: performers' perspectives (part II) |
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129 | (30) |
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129 | (1) |
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130 | (26) |
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130 | (7) |
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137 | (3) |
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140 | (7) |
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147 | (3) |
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150 | (4) |
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154 | (2) |
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156 | (2) |
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158 | (1) |
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6 Looking for desired artistic outcomes: the artistic research project |
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159 | (19) |
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159 | (4) |
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The artistic research proposal |
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163 | (11) |
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163 | (4) |
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167 | (1) |
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Articulating concepts and images in desired artistic outcomes |
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168 | (5) |
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Disseminating desired artistic outcomes |
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173 | (1) |
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174 | (2) |
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176 | (2) |
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7 Promoting desired artistic outcomes: the pedagogical project |
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178 | (18) |
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178 | (1) |
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The Artistic Mentoring Programme |
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179 | (6) |
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179 | (1) |
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Addressed capacity: self-authorship |
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180 | (1) |
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181 | (1) |
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182 | (1) |
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182 | (1) |
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Understanding the emancipated performer |
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182 | (3) |
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Nurturing the emancipated performer |
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185 | (1) |
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185 | (1) |
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186 | (6) |
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186 | (2) |
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Case study 2 Awake in a Dream |
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188 | (2) |
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190 | (2) |
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192 | (2) |
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194 | (2) |
| Final thoughts |
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196 | (5) |
| References |
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201 | (11) |
| Index |
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Gilvano Dalagna is invited Assistant Professor at the University of Aveiro, Portugal, and a Fellow Researcher of INET-md. Parallel to his academic activity, Gilvano pursues a career as a performer with his group Atma Kirtana.
Sara Carvalho is a Composer and a Lecturer at the University of Aveiro, Portugal, and a Fellow Researcher of INET-md. Her research work is published in several journals and book chapters, such as SEMPRE Studies in The Psychology of Music Series.
Graham F. Welch is Professor and Established Chair of Music Education, University College London, and Chair of the Society for Education, Music and Psychology Research (SEMPRE).
