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Published online by Cambridge University Press: 04 January 2025
In scientific research, the exposition usually follows a logic that is different from the research itself. While a clear and well-structured discourse obviously plays an important role in the communication of the research process and its results to an audience, these rhetorical issues are negligible during the actual research. For example, while research can be done repetitively at certain stages, few people would appreciate a presenter repeating the same sentence over and over again at a conference.
In artistic research on music composition, the gap between rhetoric and research is smaller than in other disciplines. This is so because music composition, and art in general, is a form of communication in which the artist expresses concepts, ideas, emotions and feelings in the hope that the audience will be touched, intrigued or provoked. In science, the research methodology can generally be separated from the way in which the research is presented, but communication and expression are at the heart of the arts. Compared to other domains, the diversity and flexibility of communication forms in the arts reflect this central position. In the arts, communication rules are not just used, but also renewed, refreshed and even negated. Doing research in and through the arts causes communication to become part of the research domain, and thus includes exposing research and researching the exposition.
In this chapter, I claim that in artistic research the exposition can have more purposes than just presenting artefacts, knowledge and experience to an audience. For artistic researchers who give expressive and rhetorical issues a crucial role in their research and look beyond the concert hall as the sole opportunity and place for which to compose, the exposition can become an integral part of the research process. With this integration of research and exposition (which I call ‘a research-exposition mode’) the nature of the research and practice change, and intermediate forms emerge that are difficult to categorise as ‘research’ or ‘practice’. Generally in artistic research the distinction between research and practice (or theory and practice) is not clear-cut. Becoming aware of the (unconscious) connections between both categories and developing them into full-blown (autonomous) research tools and exposition forms is what this chapter aims to do.
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