Department of Research and Development
The Department of Research and Development of the Conservatorio della Svizzera italiana was founded in the year 2000 as a key strategic objective of the University School of Music. Since then, the department has assumed an active role in the promotion of initiatives and projects that regard each of the operative fields of the University School.
The Department of Research and Development has focused its efforts into three main research domains:
- Production: engagement with research projects that are related to the University School of Music’s guidelines and objectives and that have a great impact in an international context
- Dissemination: spreading the results coming from the research world into the musical practice world through seminars, workshops and lectures, so that students and teachers integrate those results into their musical practice
- Teaching: supervising projects of bachelor and master students that have research components, and develop a supporting programme for young researchers
These three domains are intended as environments in which a 360 degree exploration takes place, often including strategies and tools developed in other sciences such as Psychology, Philosophy, Historiography, Sociology and Physics so that the research perspective is open to different contributions and competences.
The Department has also built a network of collaboration with institutions such as the Orpheus Instituut (Gent, Belgium), the Royal College of Music (London, United Kingdom), the Accademia Internazionale delle Arti (Milan, Italy), and with researchers and scholars from all over the world.
Project of the month
This month we would like to highlight the project “Brendel and Schnabel, or, do musicians do what they say they do?”, by Elena Alessandri, research assistant at the Department of research and development. With the completion of this project she will be granted the Laureate Programme title at the Orpheus Institute in Gent (BE).
More and more pianists communicate their interpretative ideas and theories outside the performing context, giving verbal expression to their ideas in articles, books, essays, interviews or conferences. These documents are usually impregnated with a sense of authority deriving from the high status the music world bestows on their authors as musical artists. But how should we as performers and listeners deal with those documents? Should we expect consistency between what musicians say about how they think a piece of music should be performed and the way they actually perform that piece?
To learn more about this project, please click [here].