Over a long period, I have repeatedly considered the question of ‘practice’ in an academic context, its meanings and implications, following on from earlier writings on the relationship between practice and research (see an index to earlier blog posts on this subject here), then most recently two articles in the Times Higher Education Supplement arguing for the need of different means to integrate practitioners into academia (see here and here) and then a blog article intended as a dialectical response to those articles, drawing upon a wider debate of the relationship between ‘advocacy’ and ‘criticism’, mapped by some onto ‘practitioners’ and ‘scholars’ respectively.
These subjects remain not only complex, both in theory and literally in ‘practice’, but also touch upon raw nerves amongst various scholars and practitioners. I have encountered significant rage from some composers at the suggestion that perhaps, just as few would suggest that musicological scholars are experts in the practice of composition, maybe they might show some humility towards musicologists as well, rather than assuming they know just as much about their discipline and are equally adept at teaching it. Much of this anger likely relates to competition for positions in an ever-more competitive and narrowing academic job market, especially at the current time, when at least in some other arts/humanities subjects (not music as of recently, though over the last two decades a significant number of music departments and programmes have closed), departments have been making sweeping cuts (for example Roehampton University).
There are those who choose to view the humanities on one hand, and practical work and the sciences on the other, as fundamentally opposing groups of disciplines, not only in their subject matter, but also in approach, method, ethos, and so on, so that any teaching which relates to the former is antithetical to the latter. I fundamentally disagree, and believe this view is at odds with the defining aspect of a university (as also argued back in 2010 in an article by Terry Eagleton, claiming that a university without humanities would be like ‘a pub without alcohol’). But that issue, which leads back to C.P. Snow’s 1959 essay on The Two Cultures, is extensive and for another article.
What I want to consider here is the role of universities in terms of engagement with practice, both practice undertaken by academics themselves, and that conducted in external institutions. In many ways I believe this is not just important but quite vital in a range of disciplines. Those working in medicine or other health sciences need to draw upon knowledge garnered through practical medical work, and conversely develop research with practical application. The same is true in study of business and the law. A literary scholar is engaging at a deep level with literary practice, just as is a music analyst with the musical equivalent. The extent to which academic research into the arts does or should feed into practice is more open to question, however. Certainly in the case of music there is a body of musicological opinion which is markedly sceptical about the value of performers using the findings of analytical and other research to inform their own performances, noting the extent to which a great many important performers have not done so over history, and how often their performances are quite distinct from what might be implied by such research. The same is true of composition – someone once wrote sardonically about composers who think that if one can analyse music, one can compose it, it is just a matter of doing the process in reverse! Nonetheless, in other ways performers do frequently draw upon knowledge in the business of crafting a performance (sometimes simply that garnered from listening to other performances), as do composers, and so such criticisms may in reality relate more to specific strategies than the use of external knowledge per se in the process of artistic creation.
Some areas such as pure maths (at the heart of my own first degree) may be different with respect to practical engagement; certainly from what I recall 35 years on a good deal of pure mathematical research was undertaken without primary consideration for its potential application, which was something to be discovered later on. I believe (but am no expert) that a similar approach underlies some work in other ‘pure’ sciences, and this is certainly true of those non-empirical branches of philosophy which believe in the possibility of synthetic a priori knowledge.
But in fields for which large areas of practical activity exist, it would be foolish to deny the value of engaging with knowledge drawn from this realm. I will from this point limit my discussion to artistic areas, as they are those which I know best. The key issue, in my view, is not whether but how one should do so. And this is where I would emphasise the vital aspect of a critical engagement with practice, and also of academic independence. When dealing with external practitioners or institutions dedicated to practice, one is confronted with those who have their own distinct desires, needs, economic imperatives, possible rivalries with others, and so on. Not all of these things would make for good scholarship if taken at face value. An artist may prefer a scholar to focus exclusively on their most successful work, not that whose merits might be more questionable, but a scholar who did so and claimed to be examining the work in its entirety would be disingenuous. The same is true of one examining a theatre and the responses of its audiences, who chose to bracket out from their study those audience responses which were less positive, in order to avoid upsetting the theatre owners. To use a dichotomy underlying a blog post from almost a decade ago, this is the difference between scholarship and PR. The scholar’s task is to follow where the results of their research lead them; to bury some of these in order to keep an external partner happy, or for that matter to undertake the research in such a way as to make such an outcome inevitable (as I have criticised sharply in some varieties of ethnographic work which eschew a critical view of the views and perceptions of their subjects, and as such can amount to hagiography), is to foresake one of the most fundamental aspects of being a scholar.
What I am arguing here is that critical scholarly engagement with practice (which can certainly involve partnerships and the like) should not be confused with a subservient relationship to this. This may not be the preference of some external practitioners, but if they wish for academic input, they need to respect the integrity of the academics involved.
But what about if the scholar is also the practitioner, as is the case in various forms of practice-as-research, artistic research, and so on? I have argued repeatedly that the question of whether certain practice is research is rather banal. In some ways most practice can be construed as such (as most practice requires answering certain types of questions to which there are multiple possible answers, and a range of methods for doing so), but what really matters is the quality of the research. This is not necessarily synonymous with what satisfies other aesthetic criteria (in an artistic context), but has to do with the generation of new knowledge expressed in the form of practice, which can have at least potential application for others. So an artist who develops new approaches which are found to bear aesthetic fruit, and upon which others can draw, would in an academic context generally be thought of as having done valuable research of a type.
Not all do accept this view of research (certainly artistic researchers have on the whole rejected the idea that research can simply be located in practice itself). I do accept it, but I am less sure of the extent to which it maps onto other forms of research, or qualifies the practitioner to undertake the latter, other than in some exceptional circumstances. Furthermore, while the quality of such research can, I believe, be gauged simply by close inspection of the practical work engendered, I wonder of the extent to which those engaged in assessment really do those to an intense degree (hardly possible if one has a wide range of things to assess), or whether the research quality is based upon finding the work more-or-less seems to resemble some of the qualities presented in associated verbal material (see my post on the 300-word statements that are essentially mandatory for submission of practice-based outputs to the REF).
Once again, I return to the question of critical engagement, or self-critical engagement. A practitioner can describe their work, even give a significant amount of detail about how it was put together, upon which ideas, philosophies or other determinants they have drawn (as one will find in many an ‘artist’s statement’), but that does not amount to this form of engagement. What can be difficult for practitioners is an attempt to ‘stand outside’ of their own work (and the immediate concerns of their own self), especially when in other contexts they are required to ‘sell themselves’ and in the process hide any acknowledgement of weaknesses, doubts or other more ambivalent self-reflection. Of course academics are far from immune to the latter tendency, which can sometimes dampen the possibilities of their own self-criticism, but they do function in scholarly arenas where if they do not do so, others can and often will follow up on vulnerabilities in their work, which is not always the case in more precious artistic circles.
The much-debated and contested field of autoethnography appears to me to hinge on the critical element; critical self-reflection upon personal experience, for the purposes of generating new knowledge which wider potential application is not the same thing as simply writing about oneself (which would be closer to autobiography), though a fair amount of writing and lectures I have encountered which is billed as autoethnography comes closer to the second category.
One anecdote may explain how these different attitudes and approaches can also inform teaching and its relationship to external practice. At a former institution, I was once tasked with developing a module on ‘Music and the Marketplace’, which I conceived as a broad consideration of the ways in which market forces inform music and music-making over a period of history, how other forms of music-making less subject to market forces might be different in nature, and so on. I had to be away for a period for some external performing work, so someone else took over the module design in my absence. When I returned, it had been changed to something like ‘How to get ahead in the musical marketplace’, which was a long way from my original design. What is the difference exactly? The module as originally conceived was about a critical engagement with the practice of music-making and its economic context. This by no means need imply a primarily negative view of market forces or their effect upon music, but should have been able to entertain a plurality of possible perspectives based upon careful and critical study of the phenomenon. The latter would have been entirely an ’employability’ module. Now I am certainly not going to deny the importance of such things. Some aspects of such teaching, such as how to write a CV or design a business plan, I would categorise as ancillary rather than academic skills – certainly they are things which do not necessarily require a university in order to be learned. But if employability skills become the only or primary things taught in a university context, or the attitude associated with them underlies the majority of teaching, I wonder then if a university degree has become more of a training course, lacking true intellectual inquiry and critical thinking that is more than purely functional. This touches on the question of a humanities approach – critical thinking in that context I would associate with a relatively dispassionate search for ‘pure’ knowledge, rather than subsuming that knowledge to narrow external criteria such as ‘how do I get ahead?’ or ‘how do I keep certain people happy?’
Any academic department without critical scholars will be impoverished in terms of the wider mission of a university. Practitioners can be critical scholars/thinkers as well, as can external partners, but one should not assume this is necessarily the case and certainly not ignore the possibility that other agendas may condition their thinking, either as expressed explicitly or implicitly assumed. In order that universities fulfil their central mission, it is vital to engage with practice, but in a critical and independent manner, whilst recognising that simply undertaking practice and promoting it in a certain way is not at all the same thing. And institutions must take care to guard and protect scholars’ independence from external pressures, simply to ensure that what they do remains scholarship. Then there is no reason to worry that engagement with practice entails any necessary conflict with the imperatives of research.
In advance of writing a new blog post on academic engagement with practice, I thought it might be useful to give links to my various writings on practice-research and other important links in one place here, much from the period following the publication of John Croft’s article ‘Composition is not Research’, Tempo, Vol. 69, Issue 272 (April 2015), pp. 6-11.
Here is Croft’s article and my response:
The following articles appeared in the same issue of Tempo as my response to Croft. Unfortunately there do not appear to be open access versions of them available.
Camden Reeves, ‘Composition, Research and Pseudo-Science: A Response to John Croft’.
John Croft, ‘Composing, Research and Ways of Talking’ (a response to both Reeves and myself)
Musicology is not Musical PR. A post from 2013, from when I started to think hard about the different value-systems and expectations of scholarship from practitioners and musicologists.
Research Forum, ‘Can Composition and Practice be Research? Critical Perspectives’, City University, November 25th, 2015. This was a post in advance of the debate.
‘Musicological Observations 4: Can Commercial Music be Research?’ This was an earlier article asking about the relationship between commerce and research in a musical context.
Performance-as-Research – A Reply to Luk Vaes. This was a response to an article by artistic researcher Luk Vaes (linked to in the post) in advance of the debate.
Video of Research Seminar on Composition and Performance as Research, and some wider responses to John Croft and others. This contains the full video of the debate, some of my text presented there (the information on university music departments is rather dated, and will be supplanted by new information posted on this blog soon), and wider responses to Croft’s response.
Some final thoughts on composition, performance, the REF, and teaching. Subsequent reflections following the debate.
Those 300-word statements on Practice-as-Research for the RAE/REF – origins and stipulations – ‘academic butt-covering’ or more problematic? Specifically on the role of 300-word statements accompanying practice-based outputs.
The RAE and REF: Resources and Critiques. An article written during the period of the 2018 industrial action in academia, collating a wide range of views on these institutions mostly expressed on social media, with wider links to literature on the subject. This contains a small amount relating to practice-research and the REF.
Musicological Thoughts 9: Practitioners and Scholars – Advocacy vs Criticism? A much more recent post, entailing some revision of earlier positions and somewhat more sceptical about the extent to which practitioners and scholars are able to find genuine common ground.
Musicological Thoughts 10: The Value of Empirical Musicology for the Performer? A piece written during the 2022 Performance Studies Network conference, after a mixture of listening to papers and practising, considering the relationship between practice and a particular musicological sub-discipline.
Two other articles, not blog posts, which I wrote earlier this year for the Times Higher Education Supplement, are also relevant in this context:
‘We need a Research and Practice Excellence Framework’ (10 May 2022)
‘University departments need a broad range of performing artists’ (22 May 2022) (written in response to Victoria Kelley, ‘The REF does not disadvantage practice-based subjects’ (13 May 2022)).
The blog post on ‘Practitioners and Scholars’ above is in part an attempt to offer a further side to this debate, not possible within the word-count of the THES articles.
The following are a range of further weblinks available at the time of the debate.
Piers Hellawell, ‘Treating Composers as Researchers is Bonkers.’
Luk Vaes, ‘When Composition is not Research.’
Lawrence Dunn, ‘Squaring the damn composition-research circle.’
Martin Parker Dixon, ‘Composition can be research (some comments on John Croft’s recent article).’
David Pocknee, ‘Composition Is Not A Jaffa Cake, Research Is Not A Biscuit: A Riposte to John Croft.’
Lauren Redhead, ‘Is Composition Research?’
Nicholas Till, ‘Opus versus Output’
Huib Schippers, ‘The Marriage of Art and Academia: Challenges and Opportunities for Music Research in Practice-based Environments.’
Christopher Fox, ‘Music for a Dis-Uniting Kingdom?’ (Including some reflections on composition as research).
The following book chapter continues some of the important themes. Unfortunately it is not available open access, but can be requested from the authors at the link below.
Martin Scheuregger and Christopher Leedham, ‘The Purpose of the Written Element in Composition PhDs’, in Researching and Writing on Contemporary Art and Artists, edited Christopher Wiley and Ian Pace (Basingstoke: Palgrave Macmillan, 2020), pp. 65-90.
The website for PRAGUK (Practice Research Group UK) includes a good list of major texts on the subject. Especially important, coming out of this group, is the following:
And the following are some earlier relevant articles more widely on practice and research:
Christopher Frayling, ‘Research in Art and Design.’
Linda Candy, ‘Practice Based Research: A Guide.’
Joanne ‘Bob’ Whalley and Lee Miller, ‘Partly Cloudy, Chance of Rain: A Case Study’, in John Freeman (ed) Blood, Sweat and Theory: Research through Practice in Performance. (Middlesex University Press, London, 2010), pp. 218-232.