1857 research outputs found
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Developing hybridised influences inspired by Japanese pop culture and the art of Wassily Kandinsky through collaborative practice
Full text linkThis research explores the hybridisation of influences from Japanese pop culture and Wassily Kandinsky’s art and philosophy, alongside the development of collaborative methodologies for music composition. By studying these two distinct sources and merging their influences, this work seeks to uncover unconventional perspectives for compositional practice, fostering creative thinking in cross-genre and cross-disciplinary contexts. Through a portfolio of compositions, I examine pop music elements, Kandinsky-inspired compositional techniques, graphic notation, and interdisciplinary practices. Simultaneously, I collaborate with artists from various disciplines and musicians of diverse backgrounds to refine a collaborative approach that elevates hybridised influences, forging connections between music and art from a deeply personal perspective. This practice reflects my artistic vision, challenges the boundaries of contemporary classical music, and promotes a unique compositional style, emphasizing collaboration-based projects and diverse artistic engagement. Furthermore, the commentary documents the research underpinning my practice, identifying techniques, examining hybridised influences, and evaluating collaborative processes.
A practice-based, autoethnographic approach is central to realizing the potential of this research. This methodology facilitates the exploration of hybridised influences, the curation of cross-genre and cross-disciplinary projects, and the development of collaborative methodologies. Through this creative process, I have established connections between Japanese pop culture and Kandinsky’s works, both musically and philosophically, uncovering their artistic significance. These discoveries have enabled me to shape a distinct compositional style and integrate a collaborative approach that bridges interdisciplinary subjects through communication and cooperation. Collaboration has become a vital aspect of my compositional practice.
This research marks a pivotal transition from a traditional concert music composer to one who actively engages in collaboration and interdisciplinary art forms. It lays the groundwork for lifelong exploration of unconventional influences in music composition, broadening the scope of cross-genre and cross-disciplinary works, and solidifying a commitment to collaborative practice. Compared to traditional concert music, cross-disciplinary collaboration in contemporary music is relatively new. Moreover, the gap between contemporary music and other artistic disciplines presents a challenge. This research represents an initial step in bridging these gaps, challenging conventional boundaries, and introducing innovative approaches to music composition
The cultural significance of the cittern in Europe during the sixteenth and seventeenth centuries
Full text linkThe cultural history of the cittern is the story of the battle between tradition versus innovation in a
cultural climate of major forces of change, notably the economic circumstances of the sixteenth century, the beginnings of the modern age and their effect on musical culture. The increase of wealth of not only nobles but merchants, bankers, government officials and other lesser or non-aristocrats, as well as the demand for music, instruments, and art in general as means of acquiring and displaying social status and consolidating power, represented groundbreaking shifts. Music was affected by the larger investment in and consumption of art, which brought transformations in business organisations and international commerce. Such changes established a market for new varieties of musical practices and instruments, which reflected a novel amalgam of ideologies, traditions, and innovations. The cittern originated in an autochthonous instrument known in the Italian Peninsula as the cetra, which since the thirteenth century had been an iconological, Christianised version of the quintessential, mythological lyre of Classic antiquity. The cultural identity of the cetra, encompassing its humanist heritage and traditional manufacture, were dramatically transformed in response to the growing practice of polyphonic instrumental music and basso continuo. While in the Italian Peninsula, the instrument remained strongly bound to humanism, its transalpine counterpart underwent a greater commodification process. Within these transformations, the cittern acquired a range of contrasting social values and categorisations, helping shape social identities. This metamorphosis can be considered both as progress but also as a regression because in each important stage, the instrument lost as well as gained values.
On the one hand, the cittern was stripped of its most important artistic value and cultural identity, its humanist heritage. On the other, through a mass globalisation this wire plucked stringed instrument became an intrinsic part of the social fabric and everyday music of early modern Europe and set the foundations for the majority of wire strung plucked instruments of the Western continent
Personal realities I: what makes an artist?
No full textIn Chapters 2 and 3, we introduce views on two central questions for the contemporary conservatoire: What makes an artist? How does the conservatoire link with the profession? We present perspectives that were gathered from interviews and conservations with a small group of staff from the RCM community, with the aim of catalysing thought and reflection. We recognise – and celebrate – the diversity of potential responses to these questions, many of which will be explored throughout the remainder of the volume
Reimagining the one-to-one studio
No full textThis chapter recognises the centrality of one-to-one teaching in the conservatoire, past and present, critically reflecting on the role of this pedagogical and professional relationship in the development of emerging artists in the twenty-first century. Following a summary of current issues and debates surrounding this pillar of conservatoire learning, the chapter explores the role of conservatoires in promoting best practices, to facilitate optimal conditions for positive outcomes in the one-to-one teaching space. To illuminate possible approaches, the chapter considers outcomes from a research project on transforming performance pedagogies, funded by the Society for Research into Higher Education (SRHE). 1 By examining the experiences of students and staff from the Royal College of Music (RCM), the chapter discusses whether the innovative use of digital technology can evolve and enhance one-to-one teaching in the conservatoire. The chapter concludes by proposing that the preservation of tradition and the innovation of teaching practice are not diametrically opposed; rather, today’s conservatoires need robust frameworks to facilitate reflective one-to-one teaching at the intersection of tradition and innovation
The landscape of musical care during the beginning of life in the United Kingdom: a mixed-methods survey study
Full text linkBackground:
The first 1001 days of life are a critical time in children’s development and can be challenging for parents and caregivers. Some families in the United Kingdom (UK) are not getting the support they need. Research indicates that musical care – the role of music in supporting any aspect of people’s developmental or health needs – can support families during, what we term, the beginning of life: pregnancy to two years of age. Musical care activities can take place in health and community settings and include music making, music listening, and music therapy. We must describe and understand the patterns of use of musical care activities during the beginning of life in the UK to capitalise on the potential of musical care to support families.
Methods:
This article explores, from parents’ and musical care providers’ perspectives, (1) participation and provision of musical care activities, (2) descriptions and experiences of musical care activities, and (3) motivations for, deterrents from, and perceived outcomes of participation in musical care activities. Data from two co-developed cross-sectional surveys for parents/caregivers (N = 578) and providers (N = 50) was analysed using descriptive statistics and thematic analysis.
Results:
Most parent/caregivers had participated in at least one musical care activity (83%). The most attended activity was play and development groups for babies that involve some music. Following our thematic analysis, personal preference, experiential and practical factors, recommendation by healthcare providers, and expectation of benefit were identified as motivators while deterrents included challenges in resources and logistics, and lack of inclusivity and diversity. Parents/caregivers perceived both positive and negative outcomes of attending musical care activities. Most providers had not had specific training and for many this work was not their primary income source.
Conclusions:
There is a wide range of musical care activities during the beginning of life in the UK. Reasons for attending them range from those specific to music and its care potential to seeing them as leisure activities. The findings have implications for the flexibility and role that musical care activities can play during the beginning of life and call for investigation into how musical care activities may be integrated into care
Reassessing musical excellence
No full textThis chapter reassesses musical excellence and explores pathways for connecting inspiration, technique, and career. Tensions between traditional notions of excellence are highlighted through a series of case studies, alongside notions of what it means, and could mean, to be successful within a conservatoire context. Topics include what makes an excellent performance and how we construct shared understandings of excellence that recognise different dimensions of achievement. The chapter provides perspectives on the range and diversity of support needed to allow musicians to develop the artistry and the careers that they seek
Cultivating research cultures
No full textResearch is now firmly embedded in the ecosystems of most advanced conservatoires. It is nevertheless fair to say that the full potential of the symbiosis of research with learning and teaching has yet to be realised. One of the major challenges over the last 50 years has been to transform music conservatoires from being training schools for musicians into fully fledged institutions of higher education. In this chapter, we set out to show how the idea and practice of research (broadly understood as critical enquiry) can provide the catalyst to help effect and sustain this transition. We begin by setting out some of the tensions for an institution that must combine and balance the development of professional musicians’ artisanal skills with its aspiration to educate critical and creative thinkers. Through three examples, drawn from recent activities at the Royal College of Music (RCM), London, we aim to demonstrate the unique advantages of doing research specifically within a conservatoire. We conclude by reflecting on the potential that research has for mobilising culture change, both within the conservatoire and music research more generally
Countercurrent podcast: Ashley Solomon in conversation with Roger Kneebone
No full textAshley Solomon is Head of Historical Performance and Professor at the Royal College of Music. He is a baroque flute and recorder player who has performed as a soloist all over the world. He co-founded the baroque ensemble Florilegium in 1991. Since then they have made over 35 recordings and performed all over the world, including almost a hundred appearances at London’s Wigmore Hall. Ashley has been working with indigenous musicians in Bolivia for over twenty years, uncovering and exploring a baroque musical tradition dating back to the Jesuit missions in the 17th century. ***** This podcast episode is free to listen to at the 'Official URL' link given below. ****
Perspectives on musical care during the beginning of life in the United Kingdom
Full text linkThis data set contains responses to two connected mixed-methods surveys on musical care during the beginning of life in the UK. Some data has been redacted to protect respondents’ anonymity.
The surveys are referred to in the paper: Spiro, N., Sanfilippo, K. R. M, Shaughnessy, C., Rowles, M., Coombes, E., Perkins, R., and Tredget, E. (2025), The landscape of musical care during the beginning of life in the United Kingdom: A mixed-methods survey study, BMC Complementary Medicine and Therapies, 25 (380). The paper is available open access on this repository at https://researchonline.rcm.ac.uk/id/eprint/2678/ and on the publisher's website at https://doi.org/10.1186/s12906-025-05014-