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  ,  Applications accepted all year round  Self-Funded PhD Students Only

About the Project

PROJECT DESCRIPTION

We invite proposals for doctoral research in the fields of jazz and improvised music. We employ jazz in its broadest understanding and improvisation as central to, but not the sole preserve of, its practice. Your project can take either the shape of a written thesis or be significantly informed by a practice-led component. The focus of your research proposal may be directed towards, but is by no means limited to, one or more of the following areas of investigation:

 ·       Decentring and decolonising improvisational theory and practice

·       Critical historiography

·       Theorising and understanding the improvisational act, artefact or ‘fact’

·       Improvisation as a site for activism and/or agency

·       Improvisation in the digital age

·       The politics of improvisational practice

·       Improvisation and ethics

·       Improvisation as a marginal space

·       Liminality: Critical-creative exploration of liminal practices and/or spaces

·       Scenes and ecosystems

·       Identity and identities

Application:  As a prospective candidate we ask that you prepare a 3 – 5 page proposal that provides:

 ·       The title of your proposed research project

·       A contextual awareness of the field in which your project is situated

·       A hypothesis, research question or questions central to your enquiry

·       An overview of methodology and methods by which the hypothesis will be tested or research question(s) addressed

·       An argument as to how the proposed research project is anticipated to contribute to and further knowledge in the field

·       Links, where appropriate, to examples of your practice

 The named supervisors are actively engaged in the fields of improvisational practice and related academic debate. We particularly welcome bold and provocative ideas that challenge hegemonies in accepted theory and practice.

 Academic Qualifications

A first degree (at least a 2:1) ideally in music with a good fundamental knowledge of the principles of improvisational practice

 English Language Requirement

IELTS score must be at least 6.5 (with not less than 6.0 in each of the four components). Other equivalent qualifications will be accepted. See the university webpage: https://www.napier.ac.uk/study-with-us/international-students/english-language/english-language-requirements

 Essential attributes

·       Experience of fundamental: musical theory and practice

·       Competent in: key underlying principles of improvisation

·       Knowledge of: current debates in the field

·       Good written and oral communication skills

·       Strong motivation, with evidence of independent research skills relevant to the project.

·       Good time management

 Desirable attributes:

An inquisitive outlook and adventurous disposition.

Deadlines & timescale: Our standard entry times for research degrees are October and March, but you can make your application at any time and it will be considered for the next available intake, in this case: apply by 30 November 2024 for potential entry on 1 March 2025, or by 31 May 2025 for potential entry on 1 October 2025.

Creative Arts & Design (9) Philosophy (28)

References

Indicative Bibliography:
Bailey, Derek. Improvisation: Its Nature and Practice in Music. 2nd ed. London: British Library National Sound Archive, 1992.
Berliner, P.F. Thinking in jazz: The infinite art of improvisation. University of Chicago Press, 2009.
Born, Georgina, Eric Lewis, and Will Straw. Improvisation and Social Aesthetics. Durham: Duke University Press, 2017.
Cobussen, Marcel. The Field of Musical Improvisation. Leiden: Leiden University Press, 2017.
Cox, Christoph, and Daniel Warner. Audio Culture: Readings in Modern Music. New York: Continuum, 2004.
Frith, Simon. Performing Rites: Evaluating Popular Music. Oxford: Oxford University Press, 1996.
Hargreaves, David J., Dorothy. Miell, and Raymond A. R. MacDonald. Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance, and Perception. Oxford: Oxford University Press, 2012.
Lewis, George. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, 2008.
Lewis, George, and Benjamin Piekut. The Oxford Handbook of Critical Improvisation Studies. New York: Oxford University Press, 2016.
Monson, I. Saying something: Jazz improvisation and interaction. University of Chicago Press, 2009.
Prévost, Eddie. No Sound Is Innocent: AMM and the Practice of Self-Invention; Meta-Musical Narratives, Essays. Matching Tye, near Harlow: Copula, 1995.
Rodgers, Tara. Pink Noises Women on Electronic Music and Sound. Durham: Duke University Press, 2010.
Schroder, Franziska, and Mícheál Ó hAodha. Soundweaving: Writings on Improvisation. Newcastle upon Tyne: Cambridge Scholars Publisher, 2014.
Zorn, John. Arcana Series: Musicians on Music. New York: Granary Books, 2000.

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