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Introduction to Part I: Artistic Research in Higher Music Education

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Metadata
TitleIntroduction to Part I
SubtitleArtistic Research in Higher Music Education
ContributorStefan Östersjö(author)
DOIhttps://doi.org/10.11647/obp.0398.01
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0398/chapters/10.11647/obp.0398.01
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightStefan Östersjö
PublisherOpen Book Publishers
Published on2024-05-27
Page rangepp. 9–12
Print length4 pages
LanguageEnglish (Original)
Contributors

Stefan Östersjö

(author)
Chaired Professor of Musical Performance at Piteå School of Music at Luleå University of Technology

Stefan Östersjö is Chaired Professor of Musical Performance at Piteå School of Music, Luleå University of Technology. He received his doctorate in 2008 for a dissertation on musical interpretation and contemporary performance practice. In 2009, he became a research fellow at the Orpheus Institute. He is currently also a guest professor at Ingesund School of Music, Karlstad University of Technology, Professor II at Western Norway University of Applied Sciences, and associate professor at DXARTS, University of Washington. Östersjö is a leading classical guitarist specialising in the performance of contemporary music. As a soloist, chamber musician, sound artist, and improviser, he has released more than twenty CDs and toured Europe, the USA, and Asia. He has collaborated extensively with composers and in the creation of works involving choreography, film, video, performance art, and music theatre. Between 1995 and 2012 he was the artistic director of Ensemble Ars Nova, a leading Swedish ensemble for contemporary music. As a soloist he has worked with conductors such as Lothar Zagrosek, Péter Eötvös, Pierre-André Valade, Mario Venzago, and Andrew Manze.

References
  1. Bolt, Barbara, ‘Artistic research: A performative paradigm?’ Parse, 3 (2016), 129–42. Retrieved from: http://parsejournal.com/article/artistic- research-a-performative-paradigm/.
  2. Clarke, Eric and Mark Doffman (eds), Distributed Creativity: Collaboration and Improvisation in Contemporary Music (Oxford: Oxford University Press, 2017)
  3. Cobussen, Marcel, ‘The Trojan Horse. Epistemological Explorations Concerning Practice Based Research’, Dutch Journal of Music Theory, 12/1 (February 2007), 18–33.
  4. Craenen, Paul, ‘Artistic research as an integrative force. A critical look at the role of master’s research at Dutch conservatoires’, FORUM+, 27.1 (2020), 45–55, https://doi.org/10.5117/FORUM2020.1.CRAE
  5. Crispin, Darla, ‘The Deterritorialization and Reterritorialization of Artistic Research’, Online Journal for Artistic Research, 3(2019), 45–59.
  6. Johansson, Karin, and Eva Georgii-Hemming, ‘Processes of Academisation in Higher Music Education: the case of Sweden’, British Journal of Music Education, 38 (2) (2021).
  7. Östersjö, Stefan, ‘Artistic knowledge, the laboratory and the hörspiel.’ in Gränser och oändligheter –Musikalisk och litterär komposition, en forskningsrapport /‘Compositional’ Becoming, Complexity, and Critique, ed. by Anders Hultqvist and Gunnar. D. Hansson (Gothenburg: Art Monitor, 2020).
  8. Östersjö, Stefan, Nguyễn Thanh Thủy, David Hebert, and Henrik Frisk. Shared Listenings: Methods for Transcultural Musicianship and Research (Cambridge: Cambridge University Press, 2023).
  9. Rink, John, Helena Gaunt, and Aaron Williamon (eds), Musicians in the Making: Pathways to Creative Performance (New York: Oxford University Press, 2018).
  10. Spatz, Ben, Making A Laboratory. Dynamic Configurations with Transversal Video (Santa Barbara, CA: Punctum Books, 2020).