A Performance Studies Network Research Forum

This PSN research forum is the first of its kind complementing the biennial
PSN International Conferences. This event seeks to renew and nurture
dialogue among a range of different disciplines and artistic fields within which
practitioners and scholars continue to explore the identity, role, and function
of recorded music through varied approaches in the digital age. This event
aims to stimulate critical discussion on existing and new trends in research,
especially the intersection between creative practice and technology, as well as
artistic and scientific inquiry.

We welcome proposals which seek to explore or challenge traditionally

assumed binaries in the face of technological mediation, such as ‘text vs.
performance’, ‘product vs. process’, ‘creation vs. reproduction’, ‘recorded vs.
live’, ‘material vs. virtual’, or ‘embodied vs. disembodied performance’.
Contributions with an applied or practice-based focus, and those that explore
the cross-fertilisation of research methods are also particularly encouraged. All
types of musical style, genre, and artistic practice are invited for consideration.
This PSN forum embraces a broad definition of ‘recording’ and ‘recorded
music’ in order to encompass the many different formats and technological
media through which music is experienced as performance, and the wide range
of approaches for scholarly and artistic engagement. Contributions from
postgraduate researchers, and early career researchers/practitioners are
particularly welcome.

This event is supported by the Music & Letters Trust. A number of bursaries is
available to support individuals, especially postgraduate students and
unaffiliated early career researchers.

Proposals are invited that address (but are not limited to) any of the following
themes:

• Ethnographies of recordings (e.g., documenting the recording process,

capturing performances in cross-cultural contexts)
• Performance style and interpretation (e.g., re-evaluating artists,
repertories, and performance practices in light of new evidence from
recordings and/or new research methods)
• Analytical approaches (especially those that challenge traditional
ideologies and assumptions)
• Recordings and artistic practice (e.g., the recording process as artistic
practice, recording techniques as compositional materials, mixing live and
recorded performance, intermediality and performativity)
• Applied psychological perspectives (e.g., evaluating performance from
recordings / recording reviews, performers’ reflective practice using
recordings, aural modelling and stylistic assimilation, recordings and self-
regulated learning)
• Pedagogical contexts (e.g., teaching recording/studio techniques, learning
to be a musician through making recordings, recordings and creative teaching
practice, using technology to foster connectivities in pedagogical contexts)
• Recorded music in other cross-cultural contexts (e.g., in therapeutic
settings, in community music making, re-imagining the past through the lens
of technology)

Submissions are invited for:

• Individual spoken papers (20 minutes) – 250-word abstract.

• Practice-based workshops or recitals (45 minutes maximum) – 300-word
abstract including details of excerpts / scores / recordings of works to be
presented in the event, plus participant CV (no longer than 1 side of A4).

All submissions should include a short author/contributor biography: 150-

word (maximum).

All submissions should be structured according to the following sub-headings:

Title, background, research questions, outcomes/content, significance/impact.