Practice-based research strategies As we saw above, traditional research strategies can be applied to artistic research projects, often as part

of the whole research design. But, says Knockaert (Codarts workshop 2007), the artist works using generally maintained methods, and from there searches for specific methods concerning the artistic problem itself. At this point all parties agree: in practice-based research you will have to move beyond current qualitative and quantitative research practices. Above all they need to be led from the demands of the practice, as Haseman puts it (2010:151). New methods and techniques will have to be conceived concerning the musicians practice itself. For these methods you can find inspiration in your own practice: the techniques and tools used by practitioners can stand as research methods in their own right. Analysing a score, a recording, an improvisation Arranging, composing Practising Listening to recordings Conducting Preparing Playing Taking lessons, following master classes Improvising Notating Commenting Programming Rehearsing Interpreting Staging Studying .. This list is sheer endless. And still other strategies are conceivable, for which inspiration is sought in the artistic practice itself. The answer to the question which strategy has to be followed in artistic research varies per case, from day to day. Relevant and valid In Hendrik Vanden Abeeles opinion strategies have to be relevant, valid, and have to make debate possible. Your practice is the motor and motivation of all valid research strategies. These strategies have not been classified and recognised as research strategies before, but mark the beginning of new possibilities. Does that mean that verything is valid? Only if they are carried out in the context of a certain research design. This is the proof of the pudding. We still have to give ourselves time to develop our own approach of the methodology, to test and to try out, to practice and to develop. The practice is very diverse, and here lies our chance, says Vanden Abeele (2006:57).

IDEA WHO? Motor& Motivation (Mejorar los montunos te motive el workshop de ritmo y unas conversasiones y lo de l ___________________________________________________web con eso pones el ejempl de variacion arpeggios blabla como te interesa ver las tecnicas etc, decidiste usar el fraseo de la clave basado en los duplex y los triplets blabla WHAT IF? Research Question como elaborar variaciones en los montunos y montunos nuevos usando los ritmos del fraseo de la clave by adding notes to those one, and also make variations of the rhtyms in self TO WHAT END? Research Goal (the task) EL RESUTLADO FINAL ES CREAR PATRONES DE MONTUNOS LOS CUAES ME SIRVAN PARA VARIAR MIS MONTUNOS Y ENRIQUECERLOS YA SEA A LA HORA DE ACOMPANAR O LA HORA DEL MONTUNO DEL CORO EN LA CANCION, SIN PERDER EL SABOR. MEJORAR MI TIMING Y CREAR PATRONES PARA OTROS, CREO DESIGN WHERE? Media Review cLAVE matrix, salsa quige book, 101 montunos rebeca mauleon, blabla horacio hernadez conversation with the clave, jimmy branly drums blabla WITH WHO? Network HOW? Methods & Techniques to be employed LO Q ESTA ARRIBA ESPECIALMETE PARRAFO Y VER LO DE LE XPERIMENT CON MIHCALIS MIRAMOS

RECORD

INTERVEN

INTERVENTIO INTERVENTION N CYCLE CYCLE

REFLECT &

DATA COLLECTION

SO WHAT?

PERFORM & REPORT

Performance of the task Explanation of the process

RECORD TAKE A PATTERN OF THE CLAVE ADD NOTES TO THEM I WILL SHOW U TOMORROW LO Q VAS A PRESENTAR AHI PONRDRAS PARDE COSAS Y LO DEMAS SERA TU CURRO