Mine Doğantan-Dack is a musicologist and concert pianist. Mine has published many articles on the phenomenology of live performing, dynamics of chamber music performance, pianistic touch, methodology in artistic research, history of music theory, and several edited books including Recorded Music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (2015 Routledge), Music and Sonic Art (2018), Rethinking the Musical Instrument (2022) and The Chamber Musician in the Twenty-First Century (2022). She performs as a soloist and chamber musician and recorded the music of JS Bach and Scriabin for WNCN. Mine is the founder of the Marmara Piano Trio and received an award from the Arts and Humanities Research Council for her work on chamber music performance. Mine is also the artistic director of the London-based chamber orchestra Ensemble Vita Nova.

• Volume One Introduction, Living With and Imagining the Composer, The Wisdom of the Classical Music Performer, Reconnecting with the Past, Feeling the Future and Enjoying the Present: Towards a Novel Pedagogy of Performing Abilities, The Joy of Sight-Reading, Performing Musical and Metaphysical Agency in Pēteris Vasks’ Grāmata čellam, Rachmaninoff Meets Stanislavski: An Allegorical Archive and the Topos of Breath, But Whose Life, Really?: Singers’ Experiences of Performing Robert Schumann’s Frauenliebe und -leben op. 42, “I Was Trying to Get Down the Mountain with My Violin Strapped to My Back”: Performance Anxiety Dreams of Classical Music Performers, Cross-Genre Musicking in Individual and Collaborative Group Contexts: Lived Experience and Musical Identity, Intersubjectivity in Performance, Mixed Methods for Researching Musicians’ Lived Experience: The Philosophy and Science of Musical Absorption, Sensing Sound-Motion Objects in Music Performance.Volume Two Introduction, 1 Affective Lightscapes: A Pianist's Perspective on Musical Form as Lived Experience in Performance, 2 Music Performance Anxiety: An Autistic Perspective, 3 "Dangerously Vibrant Matter": Queering Musical Persona(e) in Instrumental Music Performance, 4 What Is It Like to Be a Disabled Pianist?, 5 Of Beasts, Lovers, and Meringue Puddings: Living with Bach at the Organ, 6 "As If for the First Time, Every Time": Towards a Generative Theory of Musical Expression, 7 "Sounding like Myself": An Interdisciplinary Dialogue on Freedom in Western Classical Music Performance, 8 "Point of No Return": Agency, Tempo and Leadership in the Performance of Joseph Joachim's Hungarian Fantasy, 9 Engaging with the Audience as Myself: A Cellist's Experience with Classical Improvisation, 10 Performing in The Theatre of Home: Autoethnographic Perspectives on Performer Identities, 11 Schubert on a Slackline: From Listening to Performing, 12 Experiencing Performance: The Vicarious Performer-Listener

Mine Doğantan-Dack is a musicologist and concert pianist. Mine has published many articles on the phenomenology of live performing, dynamics of chamber music performance, pianistic touch, methodology in artistic research, history of music theory, and several edited books including Recorded Music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (2015 Routledge), Music and Sonic Art (2018), Rethinking the Musical Instrument (2022) and The Chamber Musician in the Twenty-First Century (2022). She performs as a soloist and chamber musician and recorded the music of JS Bach and Scriabin for WNCN. Mine is the founder of the Marmara Piano Trio and received an award from the Arts and Humanities Research Council for her work on chamber music performance. Mine is also the artistic director of the London-based chamber orchestra Ensemble Vita Nova.

• Volume One Introduction, Living With and Imagining the Composer, The Wisdom of the Classical Music Performer, Reconnecting with the Past, Feeling the Future and Enjoying the Present: Towards a Novel Pedagogy of Performing Abilities, The Joy of Sight-Reading, Performing Musical and Metaphysical Agency in Pēteris Vasks’ Grāmata čellam, Rachmaninoff Meets Stanislavski: An Allegorical Archive and the Topos of Breath, But Whose Life, Really?: Singers’ Experiences of Performing Robert Schumann’s Frauenliebe und -leben op. 42, “I Was Trying to Get Down the Mountain with My Violin Strapped to My Back”: Performance Anxiety Dreams of Classical Music Performers, Cross-Genre Musicking in Individual and Collaborative Group Contexts: Lived Experience and Musical Identity, Intersubjectivity in Performance, Mixed Methods for Researching Musicians’ Lived Experience: The Philosophy and Science of Musical Absorption, Sensing Sound-Motion Objects in Music Performance.Volume Two Introduction, 1 Affective Lightscapes: A Pianist's Perspective on Musical Form as Lived Experience in Performance, 2 Music Performance Anxiety: An Autistic Perspective, 3 "Dangerously Vibrant Matter": Queering Musical Persona(e) in Instrumental Music Performance, 4 What Is It Like to Be a Disabled Pianist?, 5 Of Beasts, Lovers, and Meringue Puddings: Living with Bach at the Organ, 6 "As If for the First Time, Every Time": Towards a Generative Theory of Musical Expression, 7 "Sounding like Myself": An Interdisciplinary Dialogue on Freedom in Western Classical Music Performance, 8 "Point of No Return": Agency, Tempo and Leadership in the Performance of Joseph Joachim's Hungarian Fantasy, 9 Engaging with the Audience as Myself: A Cellist's Experience with Classical Improvisation, 10 Performing in The Theatre of Home: Autoethnographic Perspectives on Performer Identities, 11 Schubert on a Slackline: From Listening to Performing, 12 Experiencing Performance: The Vicarious Performer-Listener

Mine Doğantan-Dack is a musicologist and concert pianist. Mine has published many articles on the phenomenology of live performing, dynamics of chamber music performance, pianistic touch, methodology in artistic research, history of music theory, and several edited books including Recorded Music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (2015 Routledge), Music and Sonic Art (2018), Rethinking the Musical Instrument (2022) and The Chamber Musician in the Twenty-First Century (2022). She performs as a soloist and chamber musician and recorded the music of JS Bach and Scriabin for WNCN. Mine is the founder of the Marmara Piano Trio and received an award from the Arts and Humanities Research Council for her work on chamber music performance. Mine is also the artistic director of the London-based chamber orchestra Ensemble Vita Nova.

• Volume One Introduction, Living With and Imagining the Composer, The Wisdom of the Classical Music Performer, Reconnecting with the Past, Feeling the Future and Enjoying the Present: Towards a Novel Pedagogy of Performing Abilities, The Joy of Sight-Reading, Performing Musical and Metaphysical Agency in Pēteris Vasks’ Grāmata čellam, Rachmaninoff Meets Stanislavski: An Allegorical Archive and the Topos of Breath, But Whose Life, Really?: Singers’ Experiences of Performing Robert Schumann’s Frauenliebe und -leben op. 42, “I Was Trying to Get Down the Mountain with My Violin Strapped to My Back”: Performance Anxiety Dreams of Classical Music Performers, Cross-Genre Musicking in Individual and Collaborative Group Contexts: Lived Experience and Musical Identity, Intersubjectivity in Performance, Mixed Methods for Researching Musicians’ Lived Experience: The Philosophy and Science of Musical Absorption, Sensing Sound-Motion Objects in Music Performance.Volume Two Introduction, 1 Affective Lightscapes: A Pianist's Perspective on Musical Form as Lived Experience in Performance, 2 Music Performance Anxiety: An Autistic Perspective, 3 "Dangerously Vibrant Matter": Queering Musical Persona(e) in Instrumental Music Performance, 4 What Is It Like to Be a Disabled Pianist?, 5 Of Beasts, Lovers, and Meringue Puddings: Living with Bach at the Organ, 6 "As If for the First Time, Every Time": Towards a Generative Theory of Musical Expression, 7 "Sounding like Myself": An Interdisciplinary Dialogue on Freedom in Western Classical Music Performance, 8 "Point of No Return": Agency, Tempo and Leadership in the Performance of Joseph Joachim's Hungarian Fantasy, 9 Engaging with the Audience as Myself: A Cellist's Experience with Classical Improvisation, 10 Performing in The Theatre of Home: Autoethnographic Perspectives on Performer Identities, 11 Schubert on a Slackline: From Listening to Performing, 12 Experiencing Performance: The Vicarious Performer-Listener