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AHRC Research Centre for Cross-Cultural Music and Performance
A collaborative centre funded from 2002 to 2007 which addressed questions raised by the performance of sound and movement, particularly within Asian and African artistic practice, seeking a symbiosis between the performance concerns of ethnomusicology and musicology, and exploring analysis methodologies utilised in theatre and dance research. (See http://www.soas.ac.uk/musicanddance/.)
AHRC Research Centre for Musical Performance as Creative Practice
The AHRC Research Centre for Musical Performance as Creative Practice (CMPCP) was launched in October 2009, with a five-year research programme focused on live musical performance and creative music-making. CMPCP is undertaking five research projects with associated workshops. A Performance Studies Network will enable collaborative research between scholars and performers from around the world, and Visiting Fellowships and three doctoral studentships will also be awarded.
AHRC Research Centre for the History and Analysis of Recorded Music
The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) was established in April 2004, supported by the Arts and Humanities Research Council. A partnership of Royal Holloway, University of London (host institution) with King's College, London and the University of Sheffield, CHARM's aim was to promote the musicological study of recordings, drawing on a wide range of approaches ranging from computational analysis to business history. Its activities included a major discographical project, residential symposia and other events, and research projects.
ATHE Performance Studies Focus Group
Since its inception the Performance Studies Focus Group (PSFG) has expanded the scope of ATHE's scholarship, drawing upon interdisciplinary methods, scholars, and ideas to broaden the field. The PSFG has consistently sponsored a wide variety of multi-disciplinary panels and has, within the context of ATHE, expanded the scholarship and discussion of the parameters and functions of ‘performance’. Since 2003, the PSFG has hosted an exciting pre-conference exploring in depth a variety of performance studies topics.
Australian Centre for Applied Research in Music Performance (ACARMP), University of Sydney
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Centre for Classical Improvisation and Creative Performance
A centre for innovative research in diverse areas relating to vocal and instrumental music performance, equipped with a state-of-the-art auditory and visual capture laboratory.
The purpose of the Centre for Classical Improvisation and Creative Performance is the revival of the tradition of extemporisation within western art-music performance practice, such as improvised cadenzas, repeats and fantasias, while striving to enhance spontaneity and risk-taking in interpretation and performance. The centre offers an international meeting-point for research, training, open workshops and performances related to classical improvisation and a creative approach to art-music interpretation.
Centre for Early Music Performance and Research (CEMPR), University of Birmingham
CEMPR aims to bring together academic and performance research in early music at the highest professional level. It also exists to co-ordinate and encourage all kinds of early music activities at the University of Birmingham, from lessons for beginners on Medieval, Renaissance and Baroque instruments and in early vocal techniques, through workshops, master classes and concerts, to postgraduate programmes in performance practice, international symposia and research projects.
Centre for Eighteenth-Century Performance Practice (DeNOTE)
DeNOTE is a new research centre based in The Institute of Musical Research, School of Advanced Study, University of London. It aims to give individual practitioner-researchers working on their own small-scale projects a valuable platform for discussing their work more widely within their communities and also with academic specialists from within the conservatoire and university sector. DeNOTE's principal aim is to encourage a creative mixture of practical and intellectual approaches to the musical realisation of eighteenth-century repertories. In particular, DeNOTE will spotlight practice-based research topics that move beyond notation itself into the performative realm of sound – unbinding the music from the score, while seeking to recapture and redefine the expressive practice of music as it was understood in the eighteenth century. In addition to the seminar series, DeNOTE will gradually build a web-repository, e-mail discussion lists, podcasting facility, etc.
Centre for Music and Dance Performance Research, School of Oriental and African Studies, University of London
A collaboration between the Department of Music at the School of Oriental and African Studies, the Department of Dance Studies in the School of Performing Arts at the University of Surrey, and the School of Arts at Roehampton University, this centre addresses questions raised by the performance of sound and movement, particularly within Asian and African artistic practice, seeking a symbiosis between the performance concerns of ethnomusicology and musicology, and exploring analysis methodologies utilised in theatre and dance research. (See also http://www.roehampton.ac.uk/researchcentres/cdr/ccmdp/.)
Centre for Music Performance Research, Royal Northern College of Music
A research centre that aims to produce findings with direct practical applications for teaching and learning music: to enhance the training of instrumental and vocal teachers, to facilitate the coaching of chamber musicians and small ensembles and to develop student and professional musicians' skills in educational outreach and health contexts.
Centre for Orchestra
Centre for Orchestra is a unique collaboration between the LSO, Guildhall School and the Barbican, creating a forum in London for orchestral development in the 21st century. The programme provides orchestral training, education and early career support for young professional musicians studying at the Guildhall School.
Center for Performance Research
CPR aims to address the critical need for space designated towards artistic research and development in contemporary dance, performance, and related forms.
Centre for Performance Research
A multi-faceted theatre organisation located and rooted in Wales, working nationally and internationally to develop and improve the knowledge, understanding and practice of theatre in its broadest sense, to effect change through investigation, sharing and discovery, and to make this process as widely available as possible. Its programmes of work combine cultural co-operation, collaboration and exchange practical training, education and research, performance, production and promotion, documentation and publishing, information and resource.
Centre for Performance Science, Royal College of Music
The Centre for Performance Science (CPS) promotes collaborative research among musicians and scientists, and offers a distinctive programme of teaching, events and services at the Royal College of Music. Founded in 2000, the CPS benefits from its position within a vibrant musical environment and is well placed to explore the interface between skilled artistry and scientific discovery.
Center for Performance Studies, UCLA
The center's participating faculty and graduate students belong to the departments of Theater, Film, Anthropology, Design, Art History, Musicology, Ethnomusicology, Women's Studies, World Arts and Cultures, English, French, German, and Comparative Literature. The Center seeks to provide a resource through which students and faculty can come together to consider the study of performance across disciplines and schools.
Centre for Research in New Music (CeReNeM), University of Huddersfield
Centre for Research in Opera and Music Theatre, Department of Music, University of Sussex
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A national and international centre for research and development in the practice and theory of contemporary opera, music theatre and other forms of musical multi-media performance. The centre promotes innovative artistic and critical practices across a range of forms through academic programmes, creative and theoretical research projects, and research collaborations with relevant professional and educational partners. The Centre also aims to further knowledge and understanding of historical and contemporary practice in opera and music theatre, and to extend critical and theoretical understanding by situating these practices within broader socio-cultural debates and discourses.
Finnish Centre of Excellence (CoE) in Interdisciplinary Music Research
The CoE consists of two research teams, the Music Cognition Team
(University of Jyväskylä) and the Brain and Music Team (Helsinki
University). It contains circa 30 internationally renowned music
researchers representing different areas of expertise. Research at the CoE
investigates the human as a listener, experiencer, and performer of music.
The main areas of investigation include perception, learning and
performance of music, musical emotions, and the connection between music
and motion. The research is empirical and makes use of modern technology,
such as brain imaging and motion capture devices as well as computer
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Grieg Research School in Interdisciplinary Music Studies
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The aim of the Grieg Research School in Interdisciplinary Music Studies (GRS) is to offer research education courses that gather PhD candidates in a range of music disciplines, such as music education, music therapy, musicology and music performance/composition. These are fields with different profiles and orientations, but nevertheless they share some important problem issues and methodological challenges. GRS integrates both musical and interdisciplinary perspectives and promotes academic research and artistic development on a high international level. Participation in the GRS courses will give the candidate ECTS credits. The research school has an international orientation and a regional platform, based in a network between several institutions in Western Norway (University of Bergen, Bergen University College, Stord/Haugesund University College and Volda University College).
Improvisation, Community, and Social Practice, University of Guelph
Centered at the University of Guelph (and in partnership with McGill University, the University of British Columbia, and Université de Montréal), this international research project explores musical improvisation as a model for social change. Outcomes will range across a wide spectrum of electronic, broadcast, and print media, with a focus on policy-oriented and community-facing impacts.
Indigeneity in the Contemporary World: Politics, Performance, Belonging
This five-year research initiative is funded by the European Research Council and based at Royal Holloway, University of London. It explores how indigeneity is expressed and understood in our complex, globalising world. The aim is to determine what indigeneity has come to mean in particular places and at key moments over the last several decades, and what kind of cultural, political, ethical and aesthetic issues are negotiated within its canvass. To address these questions, the research team will analyse performance as a vital mode of cultural representation and a dynamic social practice.
Institute for Music Performance Studies / Lucerne School of Music, Switzerland
The Institute for Music Performance Studies (IMPS) is a research institution which focuses on the analysis of recorded music. Its research projects study various performative aspects of music, including timing, intonation, dynamics, phrasing, timbre, and ensemble coordination. The IMPS engages in the development of analysis methods with emphasis on computer-assisted procedures. These methods are implemented in the software tool ''Lucerne Audio Recording Analyzer'' (LARA), which is published under the GNU General Public Licence and can be downloaded for free (www.hslu.ch/lara — Mac and Windows).
Institute for Performance Research, Manchester Metropolitan University
An institute that focuses on research for sport and the contemporary arts, with an interdisciplinary performance group that aims to develop relationships across arts/science boundaries.
Institute for Practice-based Research in the Arts
The Institute for Practice-based Research in the Arts aims at developing research projects in the arts by providing support to artists, by setting up projects, and by initiating doctorates. It wants to play a stimulating and coordinating role in the academisation of higher art education. The focus is on the disciplines offered by the association's art institutes, namely architecture, audiovisual arts, fine arts, music, performing arts, and product design. However, on the initiative of researchers, other disciplines and study areas may be included in research projects and events.
Institute for Research and Coordination of Acoustics/Music (IRCAM)
IRCAM, the Institute for Research and Coordination of Acoustics/Music, is one of the world's largest public research centres dedicated to both musical expression and scientific research. Research, carried out in partnership with several universities and international companies, covers a broad spectrum of scientific disciplines including acoustics, signal processing, computer science (languages, real-time, databases, man-machine interfaces) musicology, and musical cognition. Live electronics, computer-augmented performance (in music or dance) are both a long-term object of research and a daily practice shared by musicians who are invited for week or month-long residencies.
International Centre for Performance Studies
The International Centre for Performance Studies has a vibrant intellectual culture which provides the basis for cutting-edge research and scholarship in and across the fields of Performance Studies. It is home to a great variety of research types that promote and mobilize cultural diversity and the performing art forms as a means to support the UN Millennium Sustainable Development Goals.
International Exchanges on Music Theory and Performance
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This project will foster dialogue and establish links between music theorists and performers from different countries concentrating on ensemble music - from duos to music for soloist and orchestra - from both traditional and contemporary repertoires. Annual study days will involve both their own institutions and a range of others through video-conferencing and/or by DVD recordings accessible through www.iemtp.ufpr.br. In addition to the presentation of papers, these study days will feature masterclasses in which young musicians will have the opportunity to listen to scholars' comments and exchange ideas about the pieces they will be performing.
Music Perception and Cognition Lab
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The Music Perception and Cognition Lab at McGill University focuses on the study of perception of musical timbre, performance and perception of keyboard music, perception of formal functions in music, and sound source perception. The lab also examines multimodal integration along with the perception and modeling of spatialized sound.
'Nineteenth and Early-Twentieth Century Editions of String Music - Bibliographic Problems, Editorial Content and Implications for Performing Practice', AHRC (2008-2012)
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This AHRC-funded project is to collate, digitise (and put online) a large collection of published performing parts of string-based chamber music from Haydn to Brahms, published between 1840 and 1930. This will lead to analysis of the content of annotated/edited performance parts in order better to understand performing practices in the nineteenth and early twentieth centuries. The project will lead to a number of conferences, articles and a published book in addition to the online materials.
Orpheus Research Centre in Music, Orpheus Institute
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The Orpheus Research Centre in Music (ORCiM) provides musician-researchers a unique artistic research environment. The Centre addresses emerging issues that are of concern to all involved in the artistic and artistic-research community in both practical and developmental areas where artistic knowledge is critically needed by stakeholders. ORCiM is housed at the Orpheus Institute, which aims to provide musicians investigating questions of artistic relevance with an appropriate research environment, and encourages and supports research and scholarship that is embedded in and incorporates musical practice, and which is primarily guided by artistic objectives and aesthetic interests.
Queensland Conservatorium Research Centre
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Rhythm Changes: Jazz Cultures and European Identities
Queensland Conservatorium Research Centre initiates, realises and supports music research that addresses key issues in the musical realities of today. It explores issues that are at the heart of contemporary musical practice and development, engaging directly with musicians, audiences, communities, the music industry, and scholars from a range of backgrounds in Australia and abroad.
This three-year project has been funded as part of the Humanities in the European Research Area's (HERA) theme 'Cultural Dynamics: Inheritance and Identity'. It involves collaboration between the University of Salford (host institution) and the Universities of Amsterdam, Birmingham City, Copenhagen, Graz, Lancaster and Stavanger. Rhythm Changes will develop new insights into cultural exchanges and dynamics between different countries, groups and related media, examining the inherited traditions and practices of European jazz cultures, and comparing national jazz scenes including histories, current jazz infrastructures and cultural policies. It will feature a performance and education programme.
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Sonic Arts Research Centre
An established centre of excellence dedicated to the research of music technology, SARC is a unique interdisciplinary environment which has united internationally recognised experts in the areas of musical composition, performance, signal processing and Human Computer Interaction.
STEIM (the studio for electro-instrumental music)
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STEIM (the studio for electro-instrumental music) is a centre for research and development of instruments and tools for performers in the electronic performance arts. The foundation's artistic and technical departments support an international community to develop unique instruments for their work. STEIM invites these people for residencies and provides them with an artistic and technical environment in which concepts can be given concrete form. It catalyses their ideas by providing critical feedback grounded in professional experience.
Understanding the Communication Process of a Piano Performance via Acoustical and Visual Information
A music performer expresses his/her intention via acoustical and visual information. By receiving that information, the audience may feel emotions. This project will clarify how the pianist's artistic expression is mediated to the audience through the acoustical and the movement features of the performance. Through acoustical measurements and a motion-capture technique, as well as audiences' ratings of their emotions/impressions, we will construct a quantitative model for the communication process. This three-year project is supported by the Japan Society for the Promotion of Science.
'The Use of Audiovisual Resources in Jazz Historiography and Scholarship: Performance, Embodiment and Mediatised Representations', AHRC Beyond Text Scheme (1 May 2010-30 April 2011)
Jazz historiography has traditionally revolved around sound recordings, with other sources accorded secondary status. Although this approach has generally been regarded as successful, there is growing awareness among scholars of the problematic nature of such heavy reliance on sound recordings. This project proposes to address this situation through research based on the Altman Koss Collection of audiovisual recordings of jazz performances. Consisting of more than 10,000 VHS tapes and DVDs, mostly of televised broadcasts, this collection spans the history of jazz, from the invention of sound film to the present, in all its geographic and cultural variety.