Publications


Books and special journal issues

(ed.) Artistic Practice as Research in Music: Theory, Criticism, Practice (Aldershot: Ashgate, 2015)

artistic orange


(ed.) Special issue of Nineteenth-Century Music Review on Performance Theory (vol. 9/1) (Cambridge: Cambridge University Press, 2012)

nineteenth century


(ed.) Recorded Music: Philosophical and Critical Reflections (London: Middlesex University Press, 2008)

recorded green


Finalist for the 2008 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research.

‘… compelling as a work of academic scholarship. Each author in Recorded Music shows his or her familiarity with the relevant literature and discusses various opinions in some detail… One pleasure of reading Recorded Music is following the kernels of ideas as they appear and develop in very different chapters.’ (Critical Voices, 2012)

‘A book that raises questions and interested enquiries rather than hackles, and which celebrates diversity rather than monothematic affirmation, can often be, as here, a joy. And there is more than a sufficient wealth of fascinating and mutually enlightening observations between chapters, most of which do not overlap significantly (a credit to the editor's guiding hand at the planning stage). Recorded Music emerged from my clutches with margins full of penciled asides, agreements and queries, and numerous pages folded down for future return. I emerged thinking hard, more knowledgeable on areas that I might not have encountered otherwise, and looking forward to encountering them again.’ (K. Norman, Organised Sound, December 2009)

‘Multi-authored books always provide challenges for readers as well as editors (and reviewers, too), but Doğantan-Dack has done a good job. The book deals with real critical and practical problems, using exemplars that reveal much about the full force and impact of the phonograph and its later manifestation. In her introduction, she mentions Thomas Edison’s speculations in 1878 about the uses to which his invention might be put. Conveying musical performance was not at the top of his list, but as Doğantan-Dack points out, what became the age of recording causes us to question the historical continuity between it and that which preceded it. This book reminds us of the full weight of the idea.’ (T. Herbert, in Times Higher Education, June 2009).

Mathis Lussy: A Pioneer in Studies of Expressive Performance (Bern: Peter Lang AG,  2002)


‘An admirable book … extremely well written, in a clear and concise style.’ (B. Repp, Music Perception, vol. 21, 2003)

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Book chapters and journal articles

The Role of the Musical Instrument in Performance as Research: The Piano as a Research Tool. In M. Doğantan-Dack (ed.) Artistic Practice as Research in Music: Theory, Criticism, Practice. Aldershot: Ashgate, 2015, pp. 169-202.

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Artistic Research in Classical Music Performance: Truth and Politics. PARSE  - Journal of Art and Research, University of Göthenburg, Sweden, 2015. http://parsejournal.com/article/artistic-research-in-classical-music-performance/

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Response to Haddon and Hutchinson: Empathy in Ensemble Performance. Empirical Musicology Review vol. 10, 2015.

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Philosophical Reflections on Expressive Music Performance. In D. Fabian, R. Timmers & E. Schubert (eds.) Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford: Oxford University Press, 2014, pp. 3-21.

‘Mine Doğantan-Dack issues a timely reminder that what expression is experienced depends as much on the conventions and modes of listening, as on the performance itself….I was rather touched to find my own words being quoted with approval by Doğantan-Dack. As summarized and paraphrased by her: “our efforts to simplify and deconstruct phenomena, which are the driving principles of scientific endeavour need to be constantly held up against the richness of everyday musical experience to ensure that it is the full experience we are attempting to explain, and not some conveniently simplified portion of it.”’ (J. Sloboda, Musicae Scientiae, 2015)

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Book review of Studio-based Instrumental Learning by Kim Burwell. Music Education Research vol. 16/2, 2014, pp. 220-227.

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Musical Performance and Familiarity. In E. King & H. Daynes (eds) Music and Familiarity, 2013, pp. 271-288. Aldershot: Ashgate.

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Tonality: The Shape of Affect. Empirical Musicology Review, special issue on Music and Shape, vol. 8 nos. 3-4, 2013.

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http://emusicology.org/


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Dynamics of Musical Expression: Response to Jin Hyun Kim. Empirical Musicology Review, special issue on Music and Shape. vol. 8 nos. 3-4, 2013. http://emusicology.org/

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Practice-as-research in Music Performance. In R. Andres, S. Boyd-David, E. Borg, M. Domingo and J. England (eds.) Sage Handbook of Digital Dissertations and Theses, 2012, pp. 259-275. London: Sage.

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‘Phrasing – the Very Life of Music’: Performing the Music and Nineteenth-century Performance Theory. Nineteenth Century Music Review, special issue vol. 9/1, 2012, pp. 7-30.

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The Art of Research in Live Music Performance. Music Performance Research, vol. 5, 2012, pp. 32-46.

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http://mpr-online.net/

In the Beginning was Gesture: Piano Touch and the Phenomenology of the Performing Body. In A. Gritten and E. King (eds.) New Perspectives on Music and Gesture, 2011, pp. 243-266. Aldershot: Ashgate.

‘…one of the most interesting and stimulating contributions in this volume’ (V. Meelberg, Dutch Journal of Music Theory, 2012)

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Music and Emotions: The Language Connection.  Septet: Yeditepe Journal of the Arts and Humanities vol. 1, 2008. Istanbul: Yeditepe University Publications. http://septet.yeditepe.edu.tr

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Recording the Performer’s Voice’. In M. Doğantan-Dack (ed.) Recorded Music: Philosophical and Critical Reflections, 2008, pp. 292-313. London: Middlesex University Press.

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Timbre as an Expressive Dimension in Music. In R. Reigle & P. Whitehead (eds.) Spectral World Musics, 2008, pp. 63-74. Istanbul: Pan Press.

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‘…an insightful offering, particularly her comments on electroacoustic music and musical character.’ (I. W. Hamilton, Computer Music Journal, 2010)

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The Body Behind Music: Precedents and Prospects. Psychology of Music, vol. 34/4, 2006, pp. 449-464.

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Lussy, Mathis.  The New Grove Dictionary of Music and Musicians (2nd ed.) S. Sadie & J. Tyrrell (eds.) vol. 15, 2000, pp. 328-329. London: Oxford University Press.

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Upbeat.  The New Grove Dictionary of Music and Musicians (2nd ed.) S. Sadie & J. Tyrrell (eds.) vol. 26, 2000, pp. 149-150. London: Oxford University Press.

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Muzik Kuraminda bir Tema.  VeMüzik 5, 2000, pp. 1-13. Hacettepe University Publications.

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Conference Proceedings

From Homo Faber to Homo Sapiens: The Musical Performer. Proceedings of the 2nd International Music and Sonic Art Symposium. Ontario: International Institute for Advanced Studies, 2011, pp. 26-30.

Texture and Tone Colour in Ravel’s Piano Trio in A Minor. Proceedings of the 1st International Music and Sonic Art Symposium. Ontario: International Institute for Advanced Studies, 2010, pp. 11-15.

Collaborative Processes and Aesthetics of Interaction in Chamber Music Performance: The Alchemy Project. Proceedings of the 2nd International Symposium on Systems Research in the Arts and Humanities. Ontario: International Institute for Advanced Studies, 2008, pp.7-12.

Practice and Theory: Ways of Knowing Music.  Proceedings of the 8th Conference on Systems Research in the Arts. Ontario: International Institute for Advanced Studies, 2007, pp. 7-12.

Models and Metaphors: Exploring Music Performance. Proceedings of the 7th Conference on Systems Research in the Arts. Ontario: International Institute for Advanced Studies, 2006, pp. 83-90.

Music: The Art of the Intelligent Heart. Inside Outside In Emotions, Body and Society. Proceedings of the 8th Annual International Ege University Cultural Studies Symposium, 2005, pp.143-156. Izmir: Ege University Press.

The Concept of Prolongation in Music and Poetry. Proceedings of the 6th Conference on Systems Research in the Arts. Ontario: International Institute for Advanced Studies, 2004, pp. 14-20.

Aesthetics of Musical Performance.  Proceedings of the 4th Conference on Systems Research in the Arts. Ontario: International Institute for Advanced Studies, 2003, pp. 47-52.

Mathis Lussy and Expressive Performance”. Proceedings of the 2nd Conference on Systems Research in the Arts. Ontario: International Institute for Advanced Studies, 2001, pp. 125-130.