ABSTRACT
Research-creation emerged from within the environment, a result of the cohabitation between knowledge and practice in the university. Research-creation emerged out of the blending of several distinct epistemologies, as well as out of a controversy fuelled by opposing visions of research and teaching in the university. The creation of a programme in research-creation in music also serves to solidify the discipline, which could result in better funding opportunities from granting agencies for student projects. Students in musical creation for example—performers and composers—are often reluctant to pursue research training, and often resist focusing seriously on musical questions through a different disciplinary lens. The music student-creators who wish to pursue instrument and music education in a university setting come from the music conservatory. Compared to professor-musicians, musicology professors have a greater awareness of university culture because this was precisely the setting in which they received their own training.
