Welcome to the
International Network for Artistic Research in Jazz
The network was established in 2019 in reaction to the increasing relevance of artistic perspectives in the academic discourses in jazz research. This website provides a platform for knowledge exchange and connection between artistic jazz researchers worldwide. The news/blog section informs about current activities, open calls and funding opportunities. News about the network’s annual conference and publications are announced in the relevant sections. The network welcomes followers and new contributors (please fill out the form in the connect/participate section in order to receive author access).
International Network for Artistic Research in Jazz (INARJ)
Third Conference, February 23–25, 2023 (all day)
JAM MUSIC LAB University, Guglgasse 8, Gasometer B 1110 Wien, Austria
For registration, klick here
for program, klick here
Call for Proposals (closed)
The International Network for Artistic Research in Jazz (INARJ), founded in 2019, will host its Third Conference, February 23–25, 2023, at the JAM MUSIC LAB Private University for Jazz and Popular Music, Vienna. The aim of the group’s conferences is to strengthen its network and establish a platform for advocacy for artistic research in jazz and popular music. The methodology of artistic research is still fairly new in jazz and popular music genres and INARJ was founded with the mission to establish guidelines and resources for the field. The specific goal for the third conference is to discuss and experiment with questions of methodology, rigor, knowledge exchange, and positioning. Some conference sessions will be provided in hybrid format, however we encourage participants to plan on in-person attendance for more effective engagement in discussions and projects. Presentations should address one or more of the following areas in the form of discussion forums, project presentations, or performance sessions.
Research of versus research with.
Is there/should there be a distinction between using practice as a vehicle to articulate and disseminate research findings solely through the medium of performance or applied projects compared to more traditional research methods that disseminate knowledge generated by practice through transcriptions text? In the case of the latter, what is the distinction between this and more traditional forms of research?
Demonstrating ‘rigor’ in improvised music.
How can we demonstrate and assess the rigor of research that uses improvisation as a central component? Is it possible to formulate quality guidelines? How can we position research with improvised and popular music genres in the field of artistic research with the goal of inclusion in the Frascati Manual?
Knowledge exchange via improvised music practice.
If we are to align ourselves with the broader field of jazz studies, what are ways to effectively communicate the knowledge gained from artistic research? What might those modes of communication be? How can artistic research methods be incorporated in jazz pedagogy and higher education curricula?
Value/application of knowledge to the wider research community.
How can we better ensure rigor and mediating between artistic research and the potentially subjective nature of artistic practice and improvisation practice? For a potential journal, what should be guidelines and review practices to ensure rigor but provide for the applied and creative nature of the research?
To contribute, please send a 250-word summary of your proposed presentation, and a brief biographical statement of 50 words to firstname.lastname@example.org by 30.11.2022. Proposals will be reviewed by the convenors and participants will be notified by 21.12.2022. Proposals should be positioned in one of the four discussion areas above and can be in the following categories:
- Presentations – 20-minute presentation followed by 10 minutes of Q&A and discussion
- Performance Projects – 20 minute projects followed by 10 minutes of Q&A and discussion.
Projects can be shared via recorded materials or live. For live performances, the room allows for a basic combo setup with keyboard, bass and guitar amps, and drum set. However, it is not possible to allow for rehearsal time and space.
For further information please visit http://www.artisticjazzresearch.com or contact email@example.com.
Michael Kahr (Gustav Mahler Private University of Music Klagenfurt / JAM MUSIC LAB Private University for Jazz and Popular Music Vienna)
Monika Herzig (JAM MUSIC LAB Private University for Jazz and Popular Music Vienna)
Andrew Bain (Royal Birmingham Conservatoire)
Mike Fletcher (Royal Birmingham Conservatoire)
Matthias Heyman (Koninklijk Conservatorium Brussel)
INARJ founding members:
- Andrew Bain (Royal Birmingham Conservatoire)
- Rob Burke (Monash University)
- Mike Fletcher (Royal Birmingham Conservatoire)
- Petter Frost Fadnes (University of Stavanger)
- Monika Herzig (Indiana University)
- Jasna Joviċeviċ (Singidunum University Belgrade)
- Michael Kahr (University of Music and Performing Arts in Graz)
- Emiliano Sampaio (University of Music and Performing Arts in Graz)
- Chris Stover (Arizona State University)
- Wolf-Georg Zaddach (University of Music Franz Liszt, Weimar)
- Per Zanussi (University of Stavanger)