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Despite innovative developments in research in-and-through the arts in the past decade, the emergent field of artistic research remains controversial, and is accepted with varying degrees of enthusiasm in academic institutions. It is our contention that the challenges and opportunities presented by this burgeoning discipline may be better understood by re-emphasising the centrality of the artist. Through a study of the interrelationship between artistic fields and theories of knowledge, and through some consciously metaphorical readings, we examine the contexts within which artistic research has developed. Using this information as a means of interrogating both scientific and artistic research paradigms, and case studies concerning specific artist-researchers, the case is set out for a fresh paradigm – an ‘artistic turn’. The aim is to create a field of meaning that may illuminate the most promising, though correspondingly problematic, aspects of artistic research: the essential ineffability of artistic creativity, and the consequent insufficiency of verbal and written accounts – something which inevitably impacts upon the text presented here. Accordingly, the discourse articulated in this volume does not propose definitive approaches, but charts a constellation of ideas that outlines the new discipline and points to its manifold and open-ended possibilities.

wetenschappelijk onderzoek --- muziektheorie --- research --- Music --- 373.67 --- 591 --- Onderzoek (kunst) --- Onderzoek (algemene literatuur) --- 7.01 --- onderzoek in de kunsten --- kunsttheorie --- Kaprow Allan --- Harrison Newton --- Mayer Helen --- Fabre Jan --- Klee Paul --- Gould Glenn --- Bernstein Leonard --- kunstonderwijs --- kunst --- Kunstpraktijk --- 21e eeuw

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The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics - the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, 'Sensorial Aesthetics in Music Practices' repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics.

Music --- Philosophy and aesthetics. --- 591 --- Onderzoek (algemene literatuur) --- Performance --- 781 --- Academic collection --- 781 Muziektheorie. Muziekleer --- Muziektheorie. Muziekleer --- scores --- music [performing arts] --- musical performances --- contemporary [generic time frame] --- philosophy of art --- 573 --- Muziekesthetica --- Aesthetics --- Hermeneutics (Music) --- Musical aesthetics --- Music theory --- Philosophy --- Artistiek onderzoek --- Uitvoeringspraktijk --- Methodologie --- 21e eeuw --- scores [documents for music] --- music [performing arts genre] --- muziekgeschiedenis