Special Issue "Music Performance Studies: Past, Present, and Future"

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: 1 April 2023 | Viewed by 779

Special Issue Editor

Prof. Dr. Mine Doğantan-Dack
E-Mail Website
Guest Editor
Faculty of Music, University of Cambridge, Cambridge CB3 9DP, UK
Interests: artistic (practice-based) research in music; phenomenology of live music performance; phenomenology of piano performance; chamber music performance practice; discourse and music performance; embodied critical thinking; embodiment in music performance; affect as epistemic tool in performance research; history of music theory; music analysis and performance; music aesthetics; 19th-century music performance theories and practices; role of the artist-scholar in higher education

Special Issue Information

Dear Colleagues,

When Jonathan Dunsby published his book titled Performing Music: Shared Concerns in 1995, he had reservations about the use of the term “discipline” in reference to “music performance studies” and cautioned his readers by noting:

"I trot out the term 'discipline' of musical performance studies as if it clearly existed, but it is as well to state that this term at present stands merely for 'subject' or 'topic'. 'Discipline' carries the implication of a received body of knowledge and an orderliness in whatever is conducted in its name, however subversively. I shall repeatedly comment on the fact that this does not really seem to have been the case in musical performance studies. (Dunsby 1995: 17)."

The 21st century has witnessed a complete reversal of this situation. Music performance studies has emerged over the last two decades as the most rapidly thriving musicological discipline, marked by systematic investigations, methodological rigour, and a more or less cohesive discursive plurality. Students of music performance studies now have an unprecedented “received body of knowledge” on which to base their research. During the evolution of the discipline, there have been several publications aiming to take stock of the then-current condition of music performance research: Gabrielsson’s article “Music Performance Research at the Millennium” published in 2003, for example, provided a state-of-the-art review of empirical research on music performance; John Rink’s 2004 book chapter titled “The state of play in performance studies” provided a summary of the three main domains that were shaping the field at the time (historical performance practice, psychology of performance, and performance and analysis). The most comprehensive survey of the field was presented by Nicholas Cook in his 2013 book titled Beyond the Score: Music as Performance. Almost a decade on, music performance studies has expanded to encompass a much wider variety of topics and methods, and interdisciplinary alliances extend to sociology, cultural studies, education research, anthropology, religion studies, philosophy, technology studies, political studies, etc. This volume aims to provide reflective and critical assessments of the contributions music performance studies made to music scholarship to date, the current state of the discipline, and future directions towards new research areas.

Topics to be included in the new publication:

  • research methods (empirical, philosophical, historical, artistic, etc.) in music performance studies
  • analysis and performance
  • philosophy and performance
  • historically informed performance research
  • working with recorded performances
  • performing identities through music
  • genres and repertoire in music performance studies
  • education research and music performance studies
  • material cultures and music performance studies
  • comparative performance pedagogies
  • embodiment and affect in music performance
  • politics and music performance studies
  • artistic research in music performance studies

Depending on the number of articles received, the Special Issue may be transformed into an edited book.

Prof. Dr. Mine Doğantan-Dack
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1200 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

genealogy of the discipline of music performance studies

methods in researching music performances

role of recorded artefacts in performance research

connections between discourse and music performance cultures

artistic research in music performance

phenomenology of performance making

the lived experiences of music performers

interdisciplinarity and music performance studies

Published Papers

This special issue is now open for submission.
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