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Publications by Project

Creative learning and ‘original’ music performance | Creative practice in contemporary concert music | Global perspectives on the ‘orchestra’ | Music as creative practice | Shaping music in performance

Creative learning and ‘original’ music performance

  • Rink, John, Helena Gaunt and Aaron Williamon, eds. Musicians in the Making: Pathways to Creative Performance (New York: Oxford University Press, forthcoming)
  • Rink, John, Helena Gaunt and Aaron Williamon. ‘Introduction’, in Musicians in the Making: Pathways to Creative Performance, ed. John Rink, Helena Gaunt and Aaron Williamon (New York: Oxford University Press, forthcoming)
  • Karen J. Wise, Mirjam James and John Rink. ‘Performers in the practice room’, in Musicians in the Making: Pathways to Creative Performance, ed. John Rink, Helena Gaunt and Aaron Williamon (New York: Oxford University Press, forthcoming)
  • Rink, John. ‘The (f)utility of performance analysis’, in Artistic Practice as Research in Music: Theory, Criticism, Practice, ed. Mine Doğantan-Dack (Aldershot: Ashgate, 2015), 127-47
  • Rink, John. ‘The interpretive shaping of music performance research’, Empirical Musicology Review 8 (2013), 120-23
  • James, Mirjam, Karen J. Wise and John Rink. ‘Exploring creativity in musical performance through lesson observation with video-recall interviews’, Scientia Paedagogica Experimentalis 47/2, (2010) 219-50. [NB This article appeared in November 2012 although the publication imprint is 2010.]

Creative practice in contemporary concert music

  • Clarke, Eric, Mark Doffman and Renee Timmers. ‘Creativity, collaboration and development in Jeremy Thurlow’s Ouija for Peter Sheppard Skærved’, Journal of the Royal Musical Association, 141 (2016), 113-65
  • Clarke, Eric F. and Mark Doffman, eds. Distributed Creativity: Collaboration and Improvisation in Contemporary Music (New York: Oxford University Press, forthcoming)
  • Clarke, Eric F. and Mark Doffman. ‘Introduction’, in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, ed. Eric F. Clarke and Mark Doffman (New York: Oxford University Press, forthcoming)
  • Clarke, Eric F., Mark Doffman, David Gorton and Stephan Östersjö. ‘Fluid practices, solid roles? The evolution of Forlorn Hope‘, in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, ed. Eric F. Clarke and Mark Doffman (New York: Oxford University Press, forthcoming)
  • Doffman, Mark, and Jean-Philippe Calvin. ‘Contemporary Music in Action: performer–composer collaboration within the conservatoire’, in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, ed. Eric F. Clarke and Mark Doffman (New York: Oxford University Press, forthcoming)
  • Clarke, Eric F., and Mark Doffman. ‘Expressive performance in contemporary concert music’, in Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, ed. Dorottya Fabian, Emery Schubert and Renee Timmers (New York: Oxford University Press, 2014), 98-114
  • Clarke, Eric. F., Mark Doffman and Liza Lim. ‘Distributed creativity and ecological dynamics: a case study of Liza Lim’s Tongue of the Invisible‘, Music & Letters, 94 (2013), 628-63

Global perspectives on the ‘orchestra’

  • Ramnarine, Tina K., ed. Global Perspectives on Orchestras: Essays on Collective Creativity and Social Agency (New York: Oxford University Press, forthcoming)
  • Ramnarine, Tina K. ‘Introduction: global perspectives on orchestras’, in Global Perspectives on Orchestras: Essays on Collective Creativity and Social Agency, ed. Tina K. Ramnarine (New York: Oxford University Press, forthcoming)
  • Ramnarine, Tina K. ‘Orchestral connections in the cultures of decolonisation: reflections on UK, Caribbean and Indian contexts’, in Global Perspectives on Orchestras: Essays on Collective Creativity and Social Agency, ed. Tina K. Ramnarine (New York: Oxford University Press, forthcoming)
  • Ramnarine, Tina K. and Jonathan McIntosh. ‘Interacting orchestras, intercultural gamelan learning in Bali and the UK, and reflections on ethnographic research processes’, in Routledge International Handbook of Intercultural Arts, ed. Pamela Burnard, Elizabeth Mackinlay and Kimberly Powell (Abingdon: Routledge, 2016), 380-90
  • Ramnarine, Tina K. ‘Performance as storytelling: memory, European integration, and the Baltic Youth Philharmonic’, Musicology 16 (2014), 83-103 [http://www.doiserbia.nb.rs/img/doi/1450-9814/2014/1450-98141416083R.pdf]
  • Ramnarine, Tina K. ‘The orchestration of civil society: community and conscience in symphony orchestras’, Ethnomusicology Forum 20/3 (2011), 327-51. Reprinted in The Ethnomusicology of Western Art Music, ed. Laudan Nooshin (Abingdon: Taylor & Francis Books, 2013), 42-66.

Music as creative practice

  • Cook, Nicholas and Justin Gagen. ‘Performing live in Second Life’, in The Oxford Handbook of Music and Virtuality, ed. Sheila Whiteley and Shara Rambarran (Oxford: Oxford University Press, 2015), 191-209
  • Cook, Nicholas. ‘Performing research: some institutional perspectives’, in Artistic Practice as Research in Music: Theory, Criticism, Practice, ed. Mine Doğantan-Dack (Aldershot: Ashgate, 2015), 11-32
  • Cook, Nicholas. ‘Implications for musicology’, in Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures, ed. Dorottya Fabian, Renée Timmers and Emery Schubert (Oxford: Oxford University Press, 2014), 331-4
  • Cook, Nicholas Cook. ‘Between art and science: music as performance’, Journal of the British Academy 2 (2014), 1-25
  • Cook, Nicholas. Beyond the Score: Music as Performance (New York: Oxford University Press, 2013)
  • Cook, Nicholas and Richard Pettengill, eds. Taking it to the Bridge: Music as Performance (Ann Arbor: University of Michigan Press, 2013)
  • Cook, Nicholas. ‘Beyond creativity?’, in Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance, and Perception, ed. David Hargreaves, Dorothy Miell and Raymond MacDonald (Oxford: Oxford University Press, 2012), 451-9
  • Cook, Nicholas. ‘The ghost in the machine: towards a musicology of recordings’. Musicae Scientiae, 14/2 (2010), 3-21

Shaping music in performance

  • Leech-Wilkinson, Daniel. ‘Classical music as enforced utopia’, Arts and Humanities in Higher Education 15/3-4 (2016), 325-36
  • Leech-Wilkinson, Daniel. ‘Cortot’s Berceuse’, Music Analysis 34/3 (2015), 335-63
  • Leech-Wilkinson, Daniel and Helen Prior. ‘Heuristics for expressive performance’, in Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures, ed. Dorottya Fabian, Emery Schubert and Renee Timmers (Oxford: Oxford University Press, 2014), 34-57
  • Küssner, Mats and Daniel Leech-Wilkinson. ‘Investigating the influence of musical training on cross-modal correspondences and sensorimotor skills in a real-time drawing paradigm’, Psychology of Music 42/3 (2014), 448-69
  • Küssner, Mats, Dan Tidhar, Helen Prior and Daniel Leech-Wilkinson. ‘Musicians are more consistent: gestural cross-modal mappings of pitch, loudness, and tempo in real-time’, Frontiers in Psychology 5/789 (2014) [10.3389/fpsyg.2014.00789]
  • Leech-Wilkinson, Daniel and Mats Küssner. ‘Introduction to special issue on music and shape: perception and theory’, Empirical Musicology Review 8/1 (2013), 1.
  • Leech-Wilkinson, Daniel. ‘Tonality and the cultural’, Empirical Musicology Review 8/3-4 (2013), 219-22
  • Leech-Wilkinson, Daniel. ‘The emotional power of musical performance’, in The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression and Social Control, ed. Tom Cochrane, Bernardino Fantini and Klaus R. Scherer (Oxford: Oxford University Press, 2013), 41-54
  • Leech-Wilkinson, Daniel. ‘Compositions, scores, performances, meanings’, Music Theory Online 18/1 (2012), 1-17
  • Küssner, Mats, Helen Prior, Nicolas Gold and Daniel Leech-Wilkinson. ‘Getting the shapes right’ at the expense of creativity? How musicians’ and non-musicians’ visualizations of sound differ’, Proceedings of the 12th International Conference on Music Perception and Cognition (2012), 121
  • Leech-Wilkinson, Daniel. ‘Making music with Alfred Cortot: ontology, data, analysis’, in Gemessene Interpretation – Computergestützte Aufführungsanalyse im Kreuzverhör der Disziplinen, ed. Heinz Loesch and Stefan Weinzierl (Mainz: Schott, 2011) (Klang und Begriff 4), 129-44