Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. This book contributes to the renewal of this field by being the first to address the potential of artistic research in developing student-centred approaches and greater student autonomy. This potential is demonstrated in chapters illustrating artistic research projects that are embedded within higher music education courses across Europe, with examples ranging from instrumental tuition and ensemble work to the development of professional employability skills and inclusive practices.

Bringing together diverse and experienced voices working within Higher Music Education but often also as professional performers, this edited collection pairs critical reflection with artistic insight to present new approaches to curricula for teaching interpretation and performance. It calls for greater collaboration between Higher Education and professional music institutions to create closer bonds with music industries and, thereby, improve students’ career opportunities. Teaching Music Performance in Higher Education will appeal to scholars, performers, teachers, but also students whose interests centre on innovative practices in conservatoires and music departments.

The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond provides a comprehensive exploration of women’s participation in musical leadership from the nineteenth century to the present. Global in scope, with contributors from over 30 countries, this book reveals the wide range of ways in which women have taken leadership roles across musical genres and contexts, uncovers new histories, and considers the challenges that women continue to face.

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The volume addresses timely issues in the era of movements such as #MeToo, digital feminisms, and the resurgent global feminist movements. Its multidisciplinary chapters represent a wide range of methodologies, with historical musicology, models drawn from ethnomusicology, analysis, philosophy, cultural studies, and practice research all informing the book. Including almost fifty chapters written by both researchers and practitioners in the field, it covers themes including:

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·       Historical Perspectives

·       Conductors and Impresarios

·       Women’s Practices in Music Education

·       Performance and the Music Industries

·       Faith and Spirituality: Worship and Sacred Musical Practices

·       Advocacy: Collectives and Grass-Roots Activism

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The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond draws together both new perspectives from early career researchers and contributions from established world-leading scholars. It promotes academic-practitioner dialogue by bringing contributions from both fields together, represents alternative models of women in musical leadership, celebrates the work done by women leaders, and shows how women challenge accepted notions of gendered roles. Offering a comprehensive overview of the varied forms of women’s musical leadership, this volume is a vital resource for all scholars of women in music, as well as professionals in the music industries and music education today. 

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How is music affected by its translation, interpretation and adaptation with, through, and by dance? How might notation of dance and music act as a form of translation? How does music influence the creation of dance? How might dance and music be understood to exchange and transfer their content, sense and process during both the creative process and the interpretative process?

Bringing together chapters that explore theory and practice, this book questions the process and role translation has to play in the context of music and dance. It provides a range of case studies across this interdisciplinary field, and is not restricted by genre, style or cultural location. As only the second volume to explore translation in relation to music, and the first to overtly tackle this topic in terms of dance, it moves the argument from a broad notion of text and translation, to think critically about the sound and movement arts of music and dance using translation as a model to better understand the collaboration of these art forms.

This volume explores the issue of collaboration: an issue at the centre of Performance Arts Research. It is explored here through the different practices in music, dance, drama, fine art, installation art, digital media or other performance arts. Collaborative processes are seen to develop as it occurs between academic researchers in the creative arts and professional practitioners in commercial organisations in the creative arts industries (and beyond), as well as focusing attention and understanding on the tacit/implicit dimensions of working across different media. 

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"This is a valuable book that addresses the growing crossovers between academia and the professional arts sector, in specifically discussing collaborative research practices. The contributions extend existing discourses on collaborative practices and practice-as-research in theatre, considering in detail a range of artistic disciplines such as music, dance, theatre and the visual arts. The volume offers writing from various perspectives, importantly including those of practitioners and practitioner-researchers." - Stefanie Sachsenmaier, Middlesex University, UK

This book appraises the contribution of Paul Dukas (1865–1935) to a wide variety of French musical practices. As a composer, critic, artistic collaborator and teacher, Dukas was central to the fin de siècle and early twentieth-century Paris musical scene (and more broadly to the French scene). Significantly, his compositional style mediated tradition through the modern language of his present, while his critical writings pioneered a new mode of musical discourse in the French press. Of further interest are Dukas’s professional relationships with iconic figures such as Gabriel Fauré and Claude Debussy, and his role in fostering the next generation of French composers. In addition to mentoring famous names such as Olivier Messiaen and Tony Aubin, he staunchly supported his female students, notably Elsa Barraine, Claude Arrieu and Yvonne Desportes. This unique essay collection offers a panoramic perspective on a comparatively neglected French musician. Paul Dukas: Legacies of a French Musician traces two aspects of his work: Part I treats Dukas as a composer, thinker and artistic collaborator; Part II constructs his intellectual legacy as seen in his creative and pedagogic endeavours. This book is essential reading for anyone interested in fin de siècle and early twentieth-century French music, women in French music, music criticism and composition education in the Paris Conservatoire.

This ebook is launched here as an exciting initiative which follows the BIBAC 2016 conference. It is an edited volume which celebrates the nexus of theory, research and practice of interdisciplinarity and intercultural contexts.

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https://bibacc.org/ebook2016/

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This book is an open access volume which can be downloaded, free of charge, below:

Expanding the notion of translation, this book specifically focuses on the transferences between music and text. The concept of 'translation' is often limited solely to language transfer. It is, however, a process occurring within and around most forms of artistic expression. Music, considered a language in its own right, often refers to text discourse and other art forms. In translation, this referential relationship must be translated too.

How is music affected by text translation? How does music influence the translation of the text it sets? How is the sense of both the text and the music transferred in the translation process? Combining theory with practice, the book questions the process and role translation has to play in a musical context. It provides a range of case studies across interdisciplinary fields. It is the first collection on music in translation that is not restricted to one discipline, including explorations of opera libretti, surtitling, art song, musicals, poetry, painting, sculpture and biography, alongside looking at issues of accessibility.

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“All in all, this is a good and innovative contribution to the growing interest in music and translation, probably more comprehensive than previous monographs since it significantly extends the approach to intersemiotic translation and the visual arts, widening the perspectives of the study. The theoretical issues addressed and the case studies analyzed, some of which present really interesting and illustrative examples, prove that there is still a lot to research in the ‘marriage’ between word and music in the context of translation.” Marta Mateo, JosTrans, 23 (2015).

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“This volume issues a powerful challenge to everyone who uses the word "translation" in relation to music. The sheer diversity of its essays demonstrates, as no previous book has, the extraordinary intellectual and artistic fertility of bringing together the notions of music and translation - and the dangers of thinking we know what we're talking about.” – Peter Dayan, Professor of Word and Music Studies, The University of Edinburgh, UK

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“This is a very rich and wide-ranging collection which combines real interdisciplinarity with a keen awareness of the current relevance of this topic to Translation Studies. The book is likely to give new energy to an already-lively field of research. Its store of fascinating detail and its blend of professional and critical input, from the world of opera in particular, should also interest admirers of opera, art song and other musical-textual forms.” – Carol O’Sullivan, Senior Lecturer in Italian Language and Translation Theory, University of Portsmouth, UK.

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