Relevant bibliographies by topics / Realism in music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Realism in music'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Realism in music"

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FROLOVA-WALKER, MARINA. "Stalin and the Art of Boredom." Twentieth-Century Music 1, no. 1 (March 2004): 101–24. http://dx.doi.org/10.1017/s1478572204000088.

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Socialist Realist ceremonial art has generally been viewed in the West as a form of high art, because of its air of monumentality and references to classics. Judged by high-art standards, such works are invariably failures, and Western commentators have accordingly treated Socialist Realism as something exotic or inexplicable. This approach is inadequate: firstly, because it does not examine Stalin-era art on its own terms, and secondly, because it refuses to acknowledge any similarities in Western culture.Socialist Realism was a discipline placed upon artists to provide a suitably dignified backdrop to state ritual. In this sense, it was a species of religious art, in which blandness, anonymity and tedium were by no means vices. This article compares the relatively smooth passage of Myaskovsky into Socialist Realism with the troubled homecoming of Prokofiev, who only mastered the discipline just before the end of his life.
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Verzosa, Noel. "Realism, Idealism and the French Reception of Hanslick." Nineteenth-Century Music Review 14, no. 1 (November 28, 2016): 51–64. http://dx.doi.org/10.1017/s1479409816000288.

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When Charles Bannelier’s French translation of Hanslick’s Vom Musikalisch-Schönen was published in 1877, it elicited discussions among French musicians and critics that can seem puzzling from our twenty-first century vantage point. The French were almost entirely ambivalent to the issue of descriptive versus non-programmatic music and were perfectly comfortable disregarding this seemingly central point of contention in Hanslick’s treatise. French critics focused instead on issues that seem tangential to the main thrust of Vom Musikalisch-Schönen: German music education, the merits of philosophy versus philology, and so forth.The French reception of Hanslick becomes less puzzling, however, when we consider the conceptual framework within which French musical discourse operated in the late nineteenth century. By 1877, musical aesthetics and criticism in France were an extension of broader trends in French intellectual culture, in which a materialist, realist view of the world vied with a metaphysical, idealist conception of the divine. Between these two ideological poles lay a rich spectrum of ideas that had profound ramifications for music and art criticism. The degree to which works of art could be understood as products of historical circumstances, for example, or whether art embodied ineffable meanings resisting explanation, were questions whose answers depended on one’s position along this realist–idealist spectrum.In this article, I show how this tension between realism and idealism formed the conceptual framework for French critics’ readings of Hanslick’s Vom Musikalisch-Schönen. I survey writings by Théodule Ribot, Jules Combarieu, Camille Bellaigue and others to show how this network of texts, when placed alongside each other, was effectively a manifestation of the realist–idealist spectrum. By putting these writings in conversation with each other, this article brings to light the intellectual premises of French writings on music in the nineteenth century. Only by understanding these premises, I argue, can we make sense of the French reception of Hanslick.
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Clark, Katerina. "Shostakovich's Turn to the String Quartet and the Debates about Socialist Realism in Music." Slavic Review 72, no. 3 (2013): 573–89. http://dx.doi.org/10.5612/slavicreview.72.3.0573.

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As Katerina Clark argues here, Dmitrii Shostakovich's turn to the quartet form in 1938 and his account of his First Quartet should be seen in the context of ongoing debates from that time about how the mandate for socialist realism might apply in music, a problematical question since music is the least representational of the arts. In making this point, Clark does not analyze the quartets themselves, but instead probes Shostakovich's statements about them, moving out from that narrow focus to place his remarks in the context of overall developments and controversies in Soviet culture of that decade—more specifically in the context of efforts aimed at liberalizing socialist realist practice.
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Budd, Malcolm. "Aesthetic Realism and Emotional Qualities of Music." British Journal of Aesthetics 45, no. 2 (January 1, 2005): 111–22. http://dx.doi.org/10.1093/aesthj/ayi014.

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Schultz, Joseph. "Aram Khachaturian and socialist realism: A reconsideration." Muzikologija, no. 20 (2016): 87–100. http://dx.doi.org/10.2298/muz1620087s.

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Aram Khachaturian remains a neglected figure in scholarship on Soviet music, his work often held as exemplifying Socialist Realism at its most conformist. In this article I suggest that folk music strongly influenced his style well before the imposition of Socialist Realism, and that his musical language and aesthetics have much more in common with those of contemporary composers in the West than has previously been assumed. A central focus of the paper will be to examine the role played by Soviet musicologists in placing questionable critical constructs on Khachaturian?s career and creative achievement.
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Miller, Frederick. "Music in Our Schools: The Case for Realism." Design For Arts in Education 89, no. 5 (June 1988): 38–41. http://dx.doi.org/10.1080/07320973.1988.9935523.

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Lopes, Dominic. "Pictorial Realism." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 277. http://dx.doi.org/10.2307/431353.

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LOPES, DOMINIC. "Pictorial Realism." Journal of Aesthetics and Art Criticism 53, no. 3 (June 1, 1995): 277–86. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0277.

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McPhail, Graham. "A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change." British Journal of Music Education 33, no. 1 (July 24, 2015): 43–59. http://dx.doi.org/10.1017/s0265051715000091.

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The catalyst for this paper is the ongoing debate concerning formal and informal approaches to pedagogy within the music education literature. I utilise a chapter by Philpott (2010) as a means to continue discussion about the apparent dialectic between formal and informal approaches to music learning and the case Philpott raises for radical change in ‘three moments’ of music education history. In engaging with the concerns in Philpott's chapter I also seek to bring to a wider audience the ideas developed by a group of sociologists of education who draw on the work of Basil Bernstein (2000) and critical realism (Moore, 2013) to argue for a realist theory of knowledge. I utilise thesesocial realistideas as a means to engage with the theme of access to what Michael F.D. Young has recently termed ‘powerful knowledge’ (Young, 2012). As Bernstein (2000) suggests we must have an understanding of the recontextualising principles that come into play whenever the classification of knowledge undergoes change, as ideologies shift and change. I argue for a balance between powerful forms of pedagogyandpowerful forms of knowledge based on an awareness of the essentially differentiated nature of knowledge.
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Thomas, D. A. "Opera in the Age of Rousseau: Music, Confrontation, Realism." French Studies 68, no. 1 (January 1, 2014): 112–13. http://dx.doi.org/10.1093/fs/knt272.

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Dissertations / Theses on the topic "Realism in music"

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Kirk, Ned Charles. "Grażyna Bacewicz and social realism /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11372.

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Viñao, Alejandro. "Magic realism in music : four electroacoustic compositions." Thesis, City University London, 1987. http://openaccess.city.ac.uk/8344/.

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The subject of this thesis is not the text contained in this book, but the four electroacoustic compositions presented: Go, Hendrix Haze, Triple Concerto and Toccata del Mago. The purpose of this writing is to put forward a context in which these four compositions may be assessed. In chapter 1, I choose to present my work taking a lateral approach. Rather than discuss my background as a composer and the reasons or 'necessity' for using the electroacoustic medium to express my musical thinking, I have instead introduced a new idea to provide a wider context: Magic Realism in music. I have developed the notion that there is a musical equivalent to Magic Realism in literature, and that my work, as well as the work of other Latin American composers, may be seen in this light. Also in this chapter, I put forward the idea that the electroacoustic medium may be the natural environment or 'habitat', as it were, for the Magic Realist composer to develop. Chapters 2 to 5 present a specific framework, that is, the aesthetic point of VIew and the technical means involved in the creation of each piece. In these chapters, the compositional process is presented, from the first, often abstract ideas that trigger the imagination of a composer, to the decision taken during the final production stage in the studio. It is hoped that this specific framework will convey the necessary Information required for a preliminary assessment of the music presented, in terms of the composer's aims and the results obtained. Yet, a piece of music can be a far more complex and richer phenomenon than the composer's aims and intentions, and it must be ultimately assessed in its own terms.
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Borgatti, Sarah. "Composing madness| Realism in "Peter Grimes"." Thesis, Tufts University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558521.

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The premiere of Benjamin Britten's opera Peter Grimes on June 7, 1945, at Sadler's Wells Theatre, reverberated throughout London and quickly spread beyond the city to permanently impact postwar audiences. The success of the opera was chiefly due to Britten's ability to fine–tune a specific kind of realism in portraying Grimes's descent into madness. This thesis examines the way in which Britten tackles the difficult task of composing an opera centered on a “sadistic fisherman.” After a reading of the Act III mad scene, it describes how the character of Peter Grimes was shaped both dramaturgically and visually through a highly collaborative process. Finally, a short review of the opera's early reception confirms that its impact on contemporary audiences cannot be reduced to mere empathy for the eponymous anti–hero and his psychic demise. The complex dialectics of realistic premises and operatic conventions endowed the work with the potential to create a safe space in which to consider the recent horrors and utter devastation of World War II. More generally, this thesis proposes that by offering these distinct spaces for introspection, opera has the significant potential not only to teach us about our own past, but also to shape our ability to act in the future.

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Titus, Joan Marie. "Modernism, socialist realism, and identity in the early film music of Dmitry Shostakovich, 1929-1932." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164752307.

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Johnson, D. M. "Towards weird realism in music : an investigation into composing with improvisation and found objects." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37040/.

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This dissertation considers the implications of using recordings of free improvisations on world music instruments and other instruments as source material for fixed media musical compositions. Generating material in this way demanded the formulation of new working methods which inevitably impacted on the character and style of the work produced. A methodology was evolved based on aspects of the performance practice of free-jazz improvisation. The individual style of free-jazz improvisation was a major part of the syntax of the created music. This further enabled novelty in that an improvised based -style replaces the conventional Western reliance on notation and its associated compositional techniques. Rather, sound is generated spontaneously and guided only by aural monitoring of it. A fascination with the sounds of world instruments led to an exploration of the sounds of those instruments in new contexts. Instruments, both world and western classical, became treated as found objects or utilised in ‘studies in ignorance’ in the manner of Sun Ra.1 The improvised material was then manipulated using computer software and structured into fixed-media works. Gesture, texture and timbre dominate these structures rather than preconceived themes or harmonic schemes. Most of the music presented with the thesis is text based or inspired by text; this provides further structural underpinning. I wished to explore the relationship between the Weird Realist aesthetic as posited by Graham Harman in the works of H.P. Lovecraft and an analogous musical response. The separation of quality from object in Lovecraft chimed with experiences of sensory distortion when under shamanic trance and this resulted in Shamanic Incantation No. 5, the only non-text based work. A fascination with fantasy in general led to the composition of an opera in Klingon in which the text and music combine to present a series of tableaux that hint at aspects of sacred violence and the breakdown of shared values in times of war. As if to underline this point, Grodek No.4 presents a collage of disturbing materials drawn from stride jazz piano, free improvisation and expressionist sprechgesang; all of which combine in a new context to illuminate Georg Trakl’s poem on the horrors of violence. As a result of these compositional procedures a cogent sound world using improvisation and electronics was created. The influence of Weird Realism and the use of world instruments stimulated ideas about how musical material can be distorted and re-contextualised. The combination of improvisatory and ‘composed’ elements was fruitful and shows a way of working with two different types of intuition, one in real time, the other not. This suggests possibilities for further exploring the combining of different experiential modes in creative work. 1 A key recording in this respect is Sun Ra, Strange Strings, El Saturn 502, 1966, explored later in the thesis.
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Haldey, Olga. "Savva mamontov and the Moscow private opera : from realism to modernism on the Russian operatic stage /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486457871783319.

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Benbalit, Tatiana I. "The shaping of Modest Moussorgsky's musical language : an assimilation of social, artistic and folk influences /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11252.

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Walls, Jacob. "Is There a Way to Invoke the Music Itself Without Embarrassing Ourselves?" Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18384.

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The interpretation of analytical claims about music presents a dilemma between positivism and fictionalism: is it that the structures imputed by the analysis are part of the reality of "the music itself" or are the structures merely a shorthand? Although there is growing agreement that we lack direct epistemological access to the music itself, the dilemma does not disappear, in large part because we feel an ethical obligation to respect the music. We intend to "get it right" by hearing how we believe the music itself demands to be heard. This thesis adapts Simon Blackburn's quasi-realist program in meta-ethics to the ontological interpretation of music analysis. Quasi-realism allows scholars to hold that although analytical choices boil down to values, this does not prevent the expression of realist-sounding ontological claims implied by their work. The analogy with quasi-realism provides an additional motivation for further work in the ethics of music analysis.
2016-09-29
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Guthridge, Lauren Alescandra. "The Symphonies of Dmitri Shostakovich: A Discussion on How Socialist Realism Impacted the Composer and His Music." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/243961.

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In the following discussion, the First and Fourth Symphonies of Dmitri Shostakovich will be analyzed with special focus on musical traits as they relate to Socialist Realism. Based respectively on the political climate in Soviet Russia during the 1920s and 1930s, the First and Fourth Symphonies have very different musical styles. Shostakovich’s compositional progression was impacted by the policies of Socialist Realism at the time he wrote his Fourth Symphony. In order to protect his integrity as a composer, Shostakovich’s Fourth Symphony was premiered 25 years after its completion, proving the immense influence of Stalin and the Communist ideals of Socialist Realism on his musical style.
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Utter, Hans Fredrick. "Networks of Music and History: Vilayat Khan and the Emerging Sitar." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308392450.

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Books on the topic "Realism in music"

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1964-, Bek Mikuláš, Chew Geoffrey, and Macek Petr 1967-, eds. Socialist realism and music. Praha: KLP, 2004.

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Realism in nineteenth-century music. Cambridge [Cambridgeshire]: Cambridge University Press, 1985.

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Opera in the age of Rousseau: Music, confrontation, realism. Cambridge: Cambridge University Press, 2012.

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Musical theatre, realism and entertainment. Farnham, Surrey, England: Ashgate, 2012.

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Zwischen Romantik und Restauration: Musik im Realismus-Diskurs der Jahre 1848 bis 1871. Stuttgart: Metzler, 2001.

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Vihavainen, Timo, writer of added commentary, ed. The struggle for control of Soviet music from 1932 to 1948: Socialist realism vs. Western formalism. Lewiston: The Edwin Mellen Press, 2012.

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Musiciens français dans la guerre froide (1945-1956): L'indépendance artistique face au politique. Paris: L'Harmattan, 2000.

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La chanson réaliste: Sociologie d'un genre : le visage et la voix. Paris: L'Harmattan, 2004.

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La chanson réaliste: For Anthony. Paris, France: L'Harmattan, 1996.

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Solodovnikov, G. I. Sot͡s︡ialisticheskiĭ realizm i muzyka sot͡s︡ialisticheskogo obshchestva. Moskva: "Muzyka,", 1985.

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Book chapters on the topic "Realism in music"

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Bencivenga, Ermanno. "Realism, Idealism, and General Terms." In Language, Quantum, Music, 1–5. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_1.

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Garola, Claudio. "An Informal Presentation of Semantic Realism and Its Solution of Quantum Paradoxes." In Language, Quantum, Music, 219–30. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_20.

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Citro, Silvia. "Ritual Transgression and Grotesque Realism in 1990s Rock Music: An Ethnographer among the Bersuit." In Youth Identities and Argentine Popular Music, 19–39. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137011527_2.

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Pace, Ian. "Ethnographic Approaches to the Study of Western Art Music: Questions of Context, Realism, Evidence, Description and Analysis." In Researching and Writing on Contemporary Art and Artists, 91–121. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39233-8_5.

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Jones, Peter T. A. "Laughing Out of Turn: Fin de Siècle Literary Realism and the Vernacular Humours of the Music Hall." In Victorian Comedy and Laughter, 265–90. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-57882-2_10.

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Morrow, Guy. "Conclusions: Virtual Reality, Augmented Reality and Mixed Reality." In Music Business Research, 177–201. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48114-8_8.

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Curry, Ben. "Music and reality." In The Routledge Handbook of Music Signification, 33–43. [1.] | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-3.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Physical Reality." In Computational Music Science, 13–32. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_3.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Psychological Reality." In Computational Music Science, 33–47. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_4.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Mental Reality." In Computational Music Science, 49–56. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_5.

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Conference papers on the topic "Realism in music"

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Kopcakova, Slavka. "SOCIALIST REALISM IN SLOVAK MUSIC - WHY DID TOTALITARIAN REGIMES NEED MUSIC AESTHETICS?" In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s16.59.

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Nadri, Chihab, Chairunisa Anaya, Shan Yuan, and Myounghoon Jeon. "Preliminary Guidelines on the Sonification of Visual Artworks: Linking Music, Sonification & Visual Arts." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.074.

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Sonification and data processing algorithms have advanced over the years to reach practical applications in our everyday life. Similarly, image processing techniques have improved over time. While a number of image sonification methods have already been developed, few have delved into potential synergies through the combined use of multiple data and image processing techniques. Additionally, little has been done on the use of image sonification for artworks, as most research has been focused on the transcription of visual data for people with visual impairments. Our goal is to sonify paintings reflecting their art style and genre to improve the experience of both sighted and visually impaired individuals. To this end, we have designed initial sonifications for paintings of abstractionism and realism, and conducted interviews with visual and auditory experts to improve our mappings. We believe the recommendations and design directions we have received will help develop a multidimensional sonification algorithm that can better transcribe visual art into appropriate music.
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Opekar, Aleš. "Repeated activity as ritual reality." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.26.

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Nardi, Carlo. "Sound in Lost and the disavowal of reality." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.25.

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King, Rob. "‘Music of the People’: Music From Data as Social Commentary." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.007.

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Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ‘purpose’ of writing such music analysed from the perspective of various commentators.
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Rastegar, Ali. "VR Music." In 2018 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2018. http://dx.doi.org/10.1109/vr.2018.8446157.

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Zhang, YanXiang, Li Tao, YiRun Shen, Elieisar Clayton, and Fangbemi Abassin. "Interactive virtual reality orchestral music." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306214.3338547.

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Farbiz, Farzam, Ka Yin Tang, Kejian Wang, Waqas Ahmad, Corey Manders, Chong Jyh Herng, and Yeow Kee Tan. "A multimodal augmented reality DJ music system." In 2007 6th International Conference on Information, Communications & Signal Processing. IEEE, 2007. http://dx.doi.org/10.1109/icics.2007.4449564.

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Liu, Zeruo, Matt Adcock, and Henry Gardner. "An evaluation of augmented reality music notation." In VRCAI '19: The 17th International Conference on Virtual-Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359997.3365748.

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Shi, Chu, Xun Luo, Cheng Ye, Yunrui Zhu, Danning Ma, and Yuan Wang. "Virtual Simulation Chimes Music Interactive Platform." In 2019 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2019. http://dx.doi.org/10.1109/icvrv47840.2019.00080.

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Reports on the topic "Realism in music"

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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