Mine DoÄŸantan-Dack is a concert pianist and musicologist (BM/MM, The Juilliard School; PhD, Columbia University). She also holds a BA in Philosophy. Her books include Mathis Lussy: A Pioneer in Studies of Expressive Performance (2002) and the edited volume Recorded Music: Philosophical and Critical Reflections (2008). Mine is currently a Departmental Lecturer at the Faculty of Music, University of Oxford.

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• Contents: Introduction, Mine DoÄŸantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook; Practising research, playing with knowledge, Celia Duffy and Stephen Broad; Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin; Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher’s personal history, Jane W. Davidson; Following performance across the research frontier, Kathryn Whitney; The (f)utility of performance analysis, John Rink; Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine DoÄŸantan-Dack; Creating new music for a redesigned instrument, Christopher Redgate; Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka; FLAT TIME/sounding, David Toop; Index.

Mine DoÄŸantan-Dack is a concert pianist and musicologist (BM/MM, The Juilliard School; PhD, Columbia University). She also holds a BA in Philosophy. Her books include Mathis Lussy: A Pioneer in Studies of Expressive Performance (2002) and the edited volume Recorded Music: Philosophical and Critical Reflections (2008). Mine is currently a Departmental Lecturer at the Faculty of Music, University of Oxford.

Select Guide Rating

• Contents: Introduction, Mine DoÄŸantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook; Practising research, playing with knowledge, Celia Duffy and Stephen Broad; Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin; Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher’s personal history, Jane W. Davidson; Following performance across the research frontier, Kathryn Whitney; The (f)utility of performance analysis, John Rink; Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine DoÄŸantan-Dack; Creating new music for a redesigned instrument, Christopher Redgate; Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka; FLAT TIME/sounding, David Toop; Index.

Mine DoÄŸantan-Dack is a concert pianist and musicologist (BM/MM, The Juilliard School; PhD, Columbia University). She also holds a BA in Philosophy. Her books include Mathis Lussy: A Pioneer in Studies of Expressive Performance (2002) and the edited volume Recorded Music: Philosophical and Critical Reflections (2008). Mine is currently a Departmental Lecturer at the Faculty of Music, University of Oxford.

Select Guide Rating

• Contents: Introduction, Mine DoÄŸantan-Dack. Part I Institutional and Critical Perspectives: Performing research: some institutional perspectives, Nicholas Cook; Practising research, playing with knowledge, Celia Duffy and Stephen Broad; Artistic research and music scholarship: musings and models from a continental European perspective, Darla Crispin; Determination and negotiation in artistic practice as research in music, Anthony Gritten. Part II Disciplinary and Methodological Issues: Practice-based music research: lessons from a researcher’s personal history, Jane W. Davidson; Following performance across the research frontier, Kathryn Whitney; The (f)utility of performance analysis, John Rink; Imaginary workspaces: creative practice and research through electroacoustic composition, John Young. Part III Specific Projects: The role of the musical instrument in performance as research: the piano as a research tool, Mine DoÄŸantan-Dack; Creating new music for a redesigned instrument, Christopher Redgate; Improvisations towards an origin: the steel cello and the bow chime, Adrian Palka; FLAT TIME/sounding, David Toop; Index.