Abstract
This chapter presents a critical evaluation of the ideology of collaboration that has emerged within academia, and its implications for artistic researchers in music performance. I question the usefulness of a one-size-fits-all conceptualisation and definition of research collaboration. Highlighting the knowledge-political issues and power hierarchies that have been pervasive in the context of musicological and music psychological research that involved music performers and their performances, I argue that there is a need to create new models of collaboration that take into account the epistemological, aesthetic and ethical foundations and values of the performing artist’s practice and artistic identity. I critique the dominant model of research collaboration in academia, which is adopted from the business world and is driven by market values that represent the ‘other’ of artistic enquiry. What is needed is thus a recognition that the subjective and individual are still as important as the intersubjective and collaborative.
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Notes
- 1.
Suzanne Lynch, ‘Learning to Collaborate: No more lonely scholars?,’ The Independent (4 October 2007). https://www.independent.co.uk/student/student-life/learning-to-collaborate-no-more-lonely-scholars-394217.html (last accessed 25 October 2018).
- 2.
Ibid.
- 3.
Hajdeja Iglic, Patrick Doreian, Luka Kronegger and Anuška Ferligoj, ‘With Whom Do Researchers Collaborate and Why?,’ Scientometrics, 112, no. 1: 153–174. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5486904/ (last accessed 30 July 2019).
- 4.
Kathleen Coessens, Darla Crispin and Anne Douglas, The Artistic Turn: A Manifesto (Leuven: Leuven University Press, 2009), 44.
- 5.
J. Sylvan Katz and Ben R. Martin, ‘What is Research Collaboration?,’ Research Policy, 26, no. 1–18 (1997): 7.
- 6.
As an exception, see Nils Randrup, Douglas Druckenmiller and Robert O. Briggs, ‘Philosophy of Collaboration,’ paper presented at the 49th Hawaii International Conference on System Sciences (2016) https://www.researchgate.net/publication/300415409_Philosophy_of_Collaboration (last accessed 20 August 2019).
- 7.
John C. Morris and Katrina Miller-Stevens, Advancing Collaborative Theory: Models, typologies, and evidence (New York: Routledge, 2016).
- 8.
Dave Pollard, ‘Will That Be Coordination, Cooperation, or Collaboration?,’ (2005), http://howtosavetheworld.ca/2005/03/25/will-that-be-coordination-cooperation-or-collaboration/ (last accessed 25 August 2019).
- 9.
In Patricia Montiel-Overall, ‘A Theoretical Understanding of Teacher and Librarian Collaboration,’ School Libraries Worldwide, 11, no. 2 (2005): 28.
- 10.
Robert W. Houston, ‘Collaboration-See “Treason”,’ in Exploring Issues in Teacher Education: Questions for future research, edited by G. E. Hall, S. M. Hord and G. Brown, 327–410 (Austin: University of Texas), 331.
- 11.
Paul Roe, ‘A Phenomenology of Collaboration in Contemporary Composition and Performance,’ Ph.D. dissertation, University of York, UK. http://etheses.whiterose.ac.uk/9941/3/485137.pdf (last accessed 25 October 2018), 20.
- 12.
Charles Taylor, Sources of the Self: The making of the modern identity (Cambridge, Mass.: Harvard University Press, 1989).
- 13.
Alastair Pennycook, ‘Cultural Alternatives and Autonomy,’ in Autonomy and Independence in Language Learning, edited by Phil Benson and Peter Voller (London: Longman, 1997), 38.
- 14.
Keith Sawyer, Group Genius: The creative power of collaboration (New York: Basic Books, 2018), 94.
- 15.
Lynch, ‘Learning to Collaborate,’ 2007.
- 16.
Ibid.
- 17.
Kevin J. S. Zollman, ‘Learning to Collaborate,’ in Scientific Collaboration and Collective Knowledge, edited by Thomas Boyer-Kassem, Conor Mayo-Wilson and Michael Weisberg, 65–77 (Oxford: Oxford University Press, 2018), 65.
- 18.
AHRC 2014. See also the AHRC’s ‘Digital Transformations in the Art and Humanities’ programme.
- 19.
Coessens et al., The Artistic Turn: A Manifesto, 2009.
- 20.
Nicholas Cook, ‘Performing Research: Some institutional perspectives,’ in Artistic Practice as Research in Music, edited by Mine Doğantan-Dack (Aldershot: Ashgate, 2015), 11–32.
- 21.
Nicholas Cook, Beyond the Score: Music as performance (Oxford: Oxford University Press, 2013).
- 22.
John Rink, ‘The State of Play in Performance Studies,’ in The Music Practitioner, edited by Jane W. Davidson (Aldershot: Ashgate, 2004), 37–51.
- 23.
Roger Chaffin, Gabriela Imreh and Mary Crawford, Practicing Perfection: Memory and piano performance (New York: Psychology Press, 2002).
- 24.
Ibid., 247.
- 25.
Ibid., 262.
- 26.
Ibid.
- 27.
Mine Doğantan-Dack, ‘The Art of Research in Live Music Performance,’ Music Performance Research, 5 (2012a): 32–46.
- 28.
Dillon R. Parmer, ‘Musicology as Epiphenomenon: Derivative disciplinarity, performing, and the deconstruction of the musical work,’ repercussions, 10, no. 1 (2007): 1–49.
- 29.
Mine Doğantan-Dack, ‘Practice-as-Research in Music Performance,’ in Sage Handbook of Digital Dissertations and Theses, edited by Richard Andres, Stephen Boyd-David, Erik Borg, Myrrh Domingo and Jude England (London: Sage, 2012b), 259–275.
- 30.
Nicholas Cook, ‘Performance Analysis and Chopin’s Mazurkas,’ Musicae Scientiae, XI, no. 2 (2007): 183–207, 184 [emphasis added].
- 31.
Doğantan-Dack, ‘Practice-as-Research in Music Performance,’ 2012b, 263.
- 32.
Mine Doğantan-Dack, ‘Once Again: Page and stage,’ Journal of the Royal Musical Association, 142, no. 2 (2017): 445–460.
- 33.
Jeffrey Swinkin, Performative Analysis: Reimagining music theory for performance. (Rochester: University of Rochester Press, 2017), 137.
- 34.
Mine Doğantan-Dack, ‘Artistic Research in Classical Music Performance: Truth and politics,’ PARSE – Journal of Art and Research (University of Göthenburg, Sweden, 2015).
- 35.
Lisa Mooney Smith, Knowledge Transfer in Higher Education: Collaboration in the arts and humanities (London: Palgrave Macmillan, 2012), 140.
- 36.
Henk Borgdorff, The Conflict of the Faculties: Perspectives on artistic research and academia (Leiden: Leiden University Press, 2012), 9.
- 37.
Cook, ‘Performing Research’, 2015.
- 38.
Nicholas Cook, Music as Creative Practice (Oxford: Oxford University Press, 2018).
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———. 2013. Beyond the Score: Music as Performance. Oxford: Oxford University Press.
———. 2015. Performing Research: Some Institutional Perspectives. In Artistic Practice as Research in Music, ed. Mine Doğantan-Dack, 11–32. Aldershot: Ashgate.
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Doğantan-Dack, Mine. 2012a. The Art of Research in Live Music Performance. Music Performance Research 5: 32–46.
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———. 2017. Once Again: The Page and the Stage. Journal of Royal Music Association 142 (2): 445–460.
Houston, W. Robert. 1980. Collaboration-See ‘Treason’. In Exploring Issues in Teacher Education: Questions for Future Research, ed. Gene E. Hall, Shirley M. Hord, and Gail Brown, 327–410. Austin: University of Texas.
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Katz, J. Sylvan, and Ben R. Martin. 1997. What is Research Collaboration? Research Policy 26: 1–18.
Lynch, Suzanne. 2007. Learning to Collaborate: No More Lonely Scholars? The Independent, October 4. https://www.independent.co.uk/student/student-life/learning-to-collaborate-no-more-lonely-scholars-394217.html. Accessed 25 Aug 2019.
Montiel-Overall, Patricia. 2005. A Theoretical Understanding of Teacher and Librarian Collaboration. School Libraries Worldwide 11 (2): 24–48.
Morris, John C., and Katrina Miller-Stevens. 2016. Advancing Collaborative Theory: Models, Typologies, and Evidence. New York: Routledge.
Parmer, Dillon. 2007. Musicology as Epiphenomenon: Derivative Disciplinarity, Performing, and the Deconstruction of the Musical Work. Repercussions 10 (1): 1–49.
Pennycook, Alastair. 1997. Cultural Alternatives and Autonomy. In Autonomy and Independence in Language Learning, ed. Phil Benson and Peter Voller, 35–53. London: Longman.
Pollard, Dave. 2005. Will That Be Coordination, Cooperation, or Collaboration? http://howtosavetheworld.ca/2005/03/25/will-that-be-coordination-cooperation-or-collaboration/. Accessed 25 Aug 2019.
Randrup, Nils, Douglas Druckenmiller, and Robert O. Briggs. 2016. Philosophy of Collaboration. Paper presented at the 49th Hawaii International Conference on System Sciences. https://www.researchgate.net/publication/300415409_Philosophy_of_Collaboration. Accessed 20 Aug 2019.
Rink, John. 2004. The State of Play in Performance Studies. In The Music Practitioner, ed. Jane Davidson, 37–51. Aldershot: Ashgate.
Roe, Paul. 2007. A Phenomenology of Collaboration in Contemporary Composition and Performance, Ph.D. dissertation, University of York. http://etheses.whiterose.ac.uk/9941/3/485137.pdf. Accessed 25 Oct 2018.
Sawyer, Keith. 2008. Group Genius: The Creative Power of Collaboration. New York: Basic Books.
Smith, Lisa Mooney. 2012. Knowledge Transfer in Higher Education: Collaboration in the Arts and Humanities. London: Palgrave Macmillan.
Swinkin, Jeffrey. 2017. Performative Analysis: Reimagining Music Theory for Performance. Rochester: University of Rochester Press.
Taylor, Charles. 1989. Sources of the Self: The Making of the Modern Identity. Cambridge, MA: Harvard University Press.
Zollman, Kevin J.S. 2018. Learning to Collaborate. In Scientific Collaboration and Collective Knowledge, ed. Thomas Boyer-Kassem, Conor Mayo-Wilson, and Michael Weisberg, 65–77. Oxford: Oxford University Press.
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Doğantan-Dack, M. (2020). Why Collaborate? Critical Reflections on Collaboration in Artistic Research in Classical Music Performance. In: Blain, M., Minors, H. (eds) Artistic Research in Performance through Collaboration. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-38599-6_3
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