The power of artistic research in the ever-changing musical workfield

The world of musicians is changing rapidly. "Traditional lines between genres are blurring," says Annemarie. "At the same time, regular activities such as performing are being reimagined, which requires a very personal interpretation." Things are also shifting in the field of music publishing. The physical sound carrier hardly plays a role any more: music is usually published digitally, often accompanied by a video.  

In classical music, recitals - or solo performances - have hit hard times. "Marketing has to work hard for it," says Steven. "But we are also seeing more and more classical music festivals. So this type of music is still being played, only in a different setting." Steven finds that students often still want to play in the old format, but that just doesn't draw audiences. "Why not look for a different venue, different music? It is fascinating to find out what the possibilities are." Annemarie adds: "The trick is to create an inspiring, versatile professional practice that can adapt to the changes."

We want to teach them to be on the ball. Where are you, what do you want, which way are you headed? Don't wait until they call you, that's not how it works." 

 
Creativity and context 

To be able to participate in this rapidly changing professional practice, it is important that students adopt an active attitude and know how to communicate. Conducting research - artistic or otherwise - can help students with this, which is why it is an integral part of all Master in Music courses. Annemarie: "It's about creativity and context. Students often live two different lives: their life at the Academy of Music and their private life. That will not come together until after their studies." But everything hinges on context. Numerous developments in the world, from the war in Ukraine to AI, impact the students and their work. "We want to teach them to be on the ball. Where are you, what do you want, which way are you headed? Don't wait until they call you, that's not how it works." 

"True," agrees Rik. "Moreover, research brings out a musician's deep-rooted embodied knowledge. It helps students develop as a person and enables them to transfer knowledge at a very detailed level."  

Interesting for the outside world

The research must therefore be interesting for the outside world. This isn't easy, as the artist themselves is the starting point. Rik: "Students mirror their work to others, involve public reactions, use external sources." With their research, students zoom out, so it serves a broader purpose.  

Research brings out a musician's deep-rooted embodied knowledge. It helps students develop as a person and enables them to transfer knowledge at a very detailed level."  

Rik Cornelissen, research coach at the Academy of Music in Arnhem

A good example is the research into multisensory integration conducted by Sarah-Jane Himmelsbach. "As a musician in a group, you hear, see and feel the other musicians as well as yourself. It's a complex set of perceptions," explains Rik. "This student mapped out the perceptions and started to play with them." She's pushing boundaries and using new combinations in her compositions. In this way she questions the musician's perceptions. 

Steven has another example. A cellist from Spain thought it a shame that cellists always play the same pieces. "She opted for a repertoire outside of the canon," says Faber. The assessment committee was amazed and enthusiastic. "She created her own niche." This type of research is in line with what ArtEZ asks from its students: to discover what you can use to set yourself apart and at the same time stay true to yourself.

Difficult to put into words

An important aspect of the research is the final phase: communicating the results. This is assessed during the finals. But it is precisely this last phase that is difficult, all three admit.  "A written thesis doesn't work," says Rik. "Artistic research about music is abstract and personal, which is often difficult to put into words." Students can communicate results in part through instruments. But they can also have themselves interviewed, live or pre-recorded. Although many students are nervous about this, it gives the audience insight into the backgrounds and process of the research. 

An altogether different approach is also sometimes seen. Steven: "One of my students wants to learn from the improvisations of famous guitar players. He writes out these improvisations in their entirety. During the finals, he will project the notes onto a screen, and the audience will see him play at the same time.  

Sharing artistic research keeps Rik, Annemarie and Steven busy, and they are always looking for inspiring examples. All three are curious: how do other courses, musicians and artists approach this? In unison: "Please let us know!"

Master's courses in music at ArtEZ

ArtEZ offers master's courses in music in three different cities: Zwolle, Arnhem, and Enschede. The master's course The Sound of Innovation is based in Enschede, with a focus on innovating and developing creative music solutions for various fields. In Zwolle, you can pursue the master's courses in Jazz & Pop and Classical Music. Both courses centre around perfromance and curation. In Arnhem, the master's course in Jazz & Pop and Music Theatre places an emphasis on performance and creation by combining experimentation with expression. Whichever specialization you choose, you are encouraged to utilize the knowledge and facilities available at all three locations to shape your unique profile as a Master of Music.

Discover all master's courses in music at ArtEZ