ABSTRACT

In order to explore perspectives on musical doctorateness, a series of semi-structured interviews were conducted with two supervisors (Spencer and Windsor) and two successful practice-based doctoral students – one performer/improviser (Max) and one composer (Alan). The data discussed here are therefore centred on the specific context of the University of Leeds outlined earlier, which allows a focused consideration of musical 'doctorateness' within one particular institutional environment. The interviews with the students explored motivations to study as doctoral students alongside their choice of supervisor; the development of the practice throughout the RD. The interviews with the supervisors explored experiences of supervising practice-based research, their roles in the development of the students' practice and the way in which it develops over time. One of the risks associated with practice-based RDs in music is that without a clear understanding of the scope of the research it can drift and lose its focus.