The International Network of Artistic Research in Jazz (INARJ) hosted its 3rd Conference February 23-25, 2023 at the Jam Music Lab Private University for Jazz and Popular Music at the Gasometer in Vienna. Discussions focused on questions of methodology, rigor, knowledge exchange, and positioning especially for jazz and improvised music. Participants on site and online experienced 25 presentations and performances by thought leaders and practitioners from 4 continents (Europe, Africa, Australia, Americas). Some highlights included improvisations on custom digital instruments, musical expression connected to memorial sites, relationships of gender and improvisation, historiography, musicians’ experience as artistic research method, and the initial Talking Jazz Live pilot event with musical interactions by Jam Music Lab Professor of Artistic Research Monika Herzig and Professor of Jazz at Dublin City University, Ronan Guilfoyle. Presentations also included the work on story-singing by the hosting institution’s faculty member Dr. Johannes Steiner and the opening keynote address by Dr. Michael Kahr, network initiator and chair of the Center for Artistic Research at the JMLU. Recordings of the sessions are archived at the JMLU for documentation and research purposes and a new online journal as well as yearly conferences are planned. The 4th symposium will be hosted by the Gustav Mahler Private University of Music in Klagenfurt in 2024.
Registration: 3rd Conference of International Network for Artistic Research in Jazz (INARJ)
Thu, February 23 – Sat, February 25, 2023 | All day
Program and Conference details (for program klick here)
JAM MUSIC LAB University, Guglgasse 8, Gasometer B 1110 Wien, Austria
Third INARJ Conference, February 23-25, 2023 (Vienna) – Call for Proposals (closed)
for provisional program klick here
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 email@example.com 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 firstname.lastname@example.org.
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)
Panels and Conference Presentations
Throughout 2021, artistic research in jazz has been discursively developed by organizing various panel discussions with selected authors and external artist scholars at the major jazz research conferences around the globe:
Jazz Re:Search in 21st-Century Academia and Beyond – 13th International Jazz Research Conference, Graz (18.-21. November 2021)
Panel Discussion with Prof. Marcel Cobussen, Dr. Michael Kahr (convenor), Dr. Tracy McMullen, Dr. Vincent Meelberg, Dr. Chris Stover, Dr. Wolf-Georg Zaddach (respondent)
IASJ Jazz Research Conference (Leiden University, 11.-12. November 2021)
Panel discussion with Andrew Bain (RBC), Kurt Ellenberger (GVSU), Petter Frost Fadnes (UiS), Michael Kahr (JMLU/KUG), Wouter Turkenburg (IASJ)
Jazz Education Network Conference (January 2021, Online)
Panel Discussion on Artistic Research in Jazz with Dr. William Banfield, Dr. John E. Hasse, Dr. Monika Herzig, Dr. Michael Kahr (convenor), Mag. Marcus Ratka, Jasna Joviċeviċ
AEC Jazz and Pop Platform (11.-13. February 2021, Online)
Paper on Artistic Research in Jazz by Dr. Michael Kahr
Australian Jazz and Improvisation Network Conference, Sydney (5.-6. June 2021, Online)
Panel Discussion with Prof. Robert Burke, Prof. Roger Dean, Prof. Marc Duby, Dr. Michael Kahr (convenor), Dr. Chris Stover
Documenting Jazz, Edinburgh (23.-26. June 2021, Online)
Round Table Discussion with Dr. Andrew Bain, Dr. Mike Fletcher, Prof. Petter Frost-Fadnes, Dr. Monika Herzig, Dr. Michael Kahr (convenor)
New publication: Artistic Research in Jazz: Positions, Theories, Methods (Routledge)
2nd Conference of the International Network for Artistic Research in Jazz
18th & 19th January 2021
(All times UTC +1)
register for attendance via email email@example.com
Monday 18th January
10:00 – Welcome
Session 1 – 10:15-12:00
Slime mould improvisers: Knowledge through analogy
Chris Mapp (Birmingham City University)
The question of method: transcription and auto-ethnography.
Lee Griffiths (Birmingham City University)
Transdisciplinary methodologies of Artistic research in music improvisation
Jasna Jovicevic (Singidunum University- Belgrade)
Session 2 – 16:00-17:30
Live panel – Researching Self – navel-gazing gibberish or profound knowledge?
Vidar Schanche (UiS)
Corey Mwamba (BCU)
Chris Mapp (BCU)
Per Zanussi (UiS)
Petter Frost Fadnes (UiS)
Tuesday 19th January
Session 3 – 10:00-12:00
Cueca, Tradition and Innovation
Artistic Research in Jazz – Eight themes for undisciplinary practices
Chris Stover – Queensland Conservatorium. Griffith University
Artistic Research: An Evolving Methodology
Robert Burke – Monash University
Session 4 – 12:00-13:30
Live panel – Artistic Research in Jazz and Popular Music at the MA Level
Chair: Michael Kahr
Aida Batista Böhm
Eva Maria Stöckler
Session 5 – 16:00-18:00
What the World Needs Now is Jazz
Monika Herzig – Indiana University
Lost Vocabulary Recovered: Applications for Practice and Pedagogy
Tom Williams (Academy of Contemporary Music) & Rich Perks (University of Kent)
Combining methods in improvisation research as a means of ensuring rigor
Una MacGlone – Royal Conservatoire of Scotland
Closing discussion and next steps – 18:00-18:30
2nd Conference of the International Network for Artistic Research in Jazz Call for Expressions of Interest
The International Network for Artistic Research in Jazz (INARJ) and Royal
Birmingham Conservatoire invite expressions of interest from potential contributors to an online artistic jazz research symposium to be held on 18-22 January 2021. The
aim of the symposium is to facilitate dialogue between artistic jazz researchers
worldwide with a view to further consolidating and expanding a global research
network. Contributors will be asked to prepare and submit a 10-15 minute video
presentation of an aspect of their research that in some way addresses the four
points listed below, which are some of the main talking points that the group has
been discussing so far. Video submissions will be scheduled for broadcast over the
course of the symposium, and chaired breakout sessions will allow for interactive
discussion between participants.
At the present time it is our hope to be able to combine an element of physical
hosting at Royal Birmingham Conservatoire (GBR), University of Stavanger (NOR),
Monash University (AUS) and Jam Music Lab Private University for Jazz and Popular
Music (AUT) to complement the online sessions. However, this will be contingent on
the continuing COVID 19 situation. Additionally we would like to extend the invitation
to other institutions to act as virtual symposium hubs.
Conference paper discussion points:
1) Research of vs. research with. Is there/should there be a distinction between
using practice as a vehicle to articulate/disseminate research findings where the
research output is a performance or similar, and more traditional research methods
that disseminate knowledge generated by practice where the output is
transcription/text that describes performance? In the case of the latter, what is the
distinction between this and more traditional forms of musicology?
2) Demonstrating ‘rigour’ in improvised music. To what extent is it possible to
demonstrate – and consequently assess – the rigour of research that uses
improvisation as a central component?
3) Knowledge exchange via improvised music practice. If we are to align
ourselves with the broader field of jazz studies, might it be necessary to find ways of
better communicating the knowledge gained from artistic research? What might those modes of communication be?
4) Value/application of knowledge to the wider research community. How can
we better ensure rigour and mediating between artistic research and the potentially
subjective nature of artistic practice and improvisation practice?
Please submit a written abstract (c.150 words) outlining the proposed submissions
by 9th November 2020. Please send by email to firstname.lastname@example.org.
Successful applicants will be notified by the 1st December 2020 and invited to
prepare and submit a pre-recorded audio or video presentation by 1st January
The International Network for Artistic Research in Jazz – Mission Statement
• Establish a formalised network of artistic researchers in jazz
• Host an annual meeting
• Open dialogue on the state of artistic research in jazz internationally
• Increase visibility of artistic research in jazz as an independent sub-discipline
INARJ website: http://www.artisticjazzresearch.com
Conference website: http://www.jprbirmingham.com/blog/inarj-conference-2021/
Conference steering group:
Andrew Bain – Royal Birmingham Conservatoire
Petter Frost-Fadnes – University of Stavanger
Mike Fletcher – Royal Birmingham Conservatoire
Michael Kahr – University of Music and Performing
Arts Graz / Jam Music Lab Privat University for Jazz and Popular Music
Corey Mwamba – Royal Birmingham Conservatoire
Patrick Avery (Royal College of Music)
Rob Burke (Monash University)
Alexander Douglas (NHS Research & Development NW)
Monika Herzig (Indiana University)
Jasna Jovicevic (Singidunum University Belgrade)
Visa-Pekka Mertanen (University of the Arts Helsinki Sibelius Academy)
Emiliano Sampaio (University of Music and Performing Arts Graz)
Chris Stover (Queensland Conservatorium, Griffith University)
Tom Williams (Academy of Contemporary Music in Guildford, Surrey)
Wolf-Georg Zaddach (Hochschule für Musik Franz Liszt Weimar)
Per Zanussi (University of Stavanger)