Co-applicant: Univ.Prof. Dr. Deniz Peters
Head, Doctoral School for Artistic Research
University of Music and Performing Arts Graz
Maiffredygasse 12B, 2. Stock
Phone: +43 680 2459732
Email: deniz.peters@kug.ac.at
orcid.org/0000-0002-8660-8388
kug.academia.edu/DenizPeters
doctorartium.kug.ac.at/index.html
 

Prof. Dr. Deniz Peters’s main areas of research concern the practical, aesthetic, phenomenological, musicological and ethical dimensions of musical expressivity, musical empathy, musical listening, and artistic research. Peters is both an artist and academic (BMusHons in classical piano performance [1999] and a MA in musicology [2002] from Monash University Melbourne; doctoral degree in musicology/aesthetics [2005] from KUG). In 2018 he became Full Professor for Artistic Research in Music at the University of Music and Performing Arts Graz (KUG), Austria, where he currently teaches and is mentor of 21 doctoral students, after being Postdoctoral Researcher within 3 FWF-projects: (1) artistic research project Embodied Generative Music L399 (€ 226.143, 2007–10) within the Translational Research TRP funding line of the FWF, with Prof. Dr. Gerhard Eckel (PI); (2) stand-alone-research project What, and How, Does Music Express? Integrating Music Philosophy and Musical Analysis P25061 (€ 211.537, 2013-2019), with Prof. Dr. Andreas Dorschel (PI, Institute for Music Aesthetics); and (3) PEEK/AR project Emotional Improvisation: Artistic Research into Interpersonal, Interactive and Intermedial Musical Meaning Making AR188 (€ 285.127, 2014-2019), with Peters as PI. Starting 2015, Peters was increasingly employed as Senior Scientist (PostDoc) for the Doctoral School for Artistic Research at KUG, of which he is now the director. Further, Deniz Peters is the current President of the Society of Artistic Research (SAR). Peters’s artistic and scholarly research (outlined with references in the additional research achievements list below) has advanced the understanding of bodily and tactile aspects of listening, paved the way towards a theory of musical empathy, contributed to an advanced and revised understanding of musical expression, gesture, and rhythm, and presents a fresh approach to an understanding of interpersonal processes in improvisation.

Project-related publications
(1) D. Peters, ‘Relational Improvisation, Musical Empathy, and Shared Expressivity’, in Alessandro Bertinetto and Marcello Ruta (ed.), The Routledge Handbook of Philosophy and Improvisation in the Arts (Routledge, in preparation).
(2) D. Peters, ‘Between I and You in Music: Shared Emotions, Relational Improvisation, and Artistic Research’, in Catherine Laws (ed.), Performance, Subjectivity, and Experimentation, Orpheus Institute Series (Leuven: Leuven University Press, 2020, 17–32). German variant published as: ‘Gemeinsamer Ausdruck? Musikalische Empathie und ihre künstlerische Erforschung’, in Arnold Jacobshagen (ed.), Musik, die Wissen schafft: Perspektiven künstlerischer Musikforschung (Würzburg: Königshausen & Neumann, 2020).
(3) D. Peters, ‘Rhythm, Preceding its Abstraction’, in The Philosophy of Rhythm: Aesthetics, Music, Poetics, eds. Peter Cheyne, Andy Hamilton & Max Paddison (Oxford: Oxford University Press, 2019), 110–124.
(4) D. Peters, ‘Six Propositions on Artistic Research’, in Perspectives of Artistic Research in Music, eds. Robert Burke & Andrys Onsman (Lexington, 2017b), 19–26.
(5) D. Peters, ‘Instrumentality as Distributed, Interpersonal, and Self-Agential: Aesthetic Implications of an Instrumental Assemblage and its Fortuitous Voice’, in Musical Instruments in the 21st Century. Identities, Configurations, Practices, eds. Till Bovermann, Alberto de Campo, Hauke Egermann, Sarah Hardjowirogo & Stefan Weinzierl (Springer, 2017a), 67–78.
(6) D. Peters, ‘Musical Empathy, Emotional Co-Constitution, and the “Musical Other”’, Empirical Musicology Review 10(1) (2015), 2–15.
(7) D. Peters, ‘Haptic Illusions and Imagined Agency: Felt Resistances in Sonic Experience’, Contemporary Music Review 32(2) (2013), 147–60. Open Access: dx.doi.org/10.1080/07494467.2013.775815
(8) D. Peters, G. Eckel, & A. Dorschel (eds.), Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity (New York, NY/London: Routledge, 2012), 224 pp.
(9) D. Peters, ‘Enactment in Listening: Intermedial Dance in EGM Sonic Scenarios and the Listening Body’, Performance Research, 15(3) (September 2010), 81–87.
(10) D. Peters, ‘Zum Konzept musikalischer Gestik’, in Musiktheorie als interdisziplinäres Fach: 8. Kongress der Gesellschaft für Musiktheorie Graz 2008; musik.theorien der gegenwart vol. 4, ed. Christian Utz(Saarbrücken: Pfau, 2010a), 243–251.