About the Journal

Attached to the Observatoire interdisciplinaire de création et de recherche en musique, Université Laval (OICRM-ULaval) of the Faculty of Music of Laval University (Québec, Canada), Musiques : Recherches interdisciplinaires wishes to respond to a need to publish research in music whose desire is to go beyond disciplinary limits. Founded in 2023, Musiques : Recherches interdisciplinaires is a trilingual journal (French, English and Spanish) whose content lies within the field of possibilities in music, without necessarily recreating existing boundaries and always persisting in the field of musical research. For some time, these disciplines have tended to diversify (sociomusicology, ludomusicology, cinemusicology, etc.) or to associate with each other, as well as with other disciplines (anthropology, sociology, gender studies, psychology, acoustics, etc.). This interdisciplinary vision makes it possible to broaden the perspectives of analysis and to better understand music in its social, cultural and cognitive context. Thus, the journal team works in concert with all branches of music, whether in research or in practice, by combining methods mainly borrowed from the human and social sciences, sometimes from those called "exact", so that A real dialogue is taking place between the different musical fields, both in Canada and internationally.

OICRM-ULaval, a center recognized by the Commission de la recherche de l’Université Laval (CRUL), is characterized by a wide diversity of research expertise:

• Pedagogy (musical education, instrumental didactics, ear training, somatic education);
• Musicology (research, analysis and interdisciplinary approaches: research-creation, phonomusicology, aesthetics, sociology, genetic criticism, Canadian, Quebec and Indigenous studies in music);
• Creation (performance, improvisation, musical technologies, digital audio production, composition, orchestration and arrangement).

All members come together around a common object – music – which they want to illuminate and explore from as many angles as possible, mainly through research and research-creation activities, but also creation, in the to the extent that the latter is incorporated into research projects. Thus, the objective is to give musical practice its full coherence both artistically and scientifically. Members and their projects are linked to one or more of our following research axes:

• DOING concerns above all research-creation projects, then understood as an approach applied to a research project carried out by an individual or several collaborators, combining research methods and creation practices within a dynamic framework of causal interaction (i.e. each having a direct influence on the other), and leading to both scientific and artifactual productions.
• LEARNING brings together projects that focus particularly on research in music pedagogy. These projects focus on both the learning tactics of students and the strategies put forward by teachers to teach music. This axis also seeks to understand and measure the impact of learning music on academic success, particularly among children. This is a resolutely interdisciplinary axis which involves educational sciences, cognitive psychology, musical creation, as well as the development of information and communications technologies.
• UNDERSTANDING characterizes projects which aim to study, describe and analyze musical practice in order to propose theoretical models. Researchers in this multidisciplinary axis will be able to adopt various approaches (historical, analytical, sociological, aesthetic, epistemological, anthropological, ethnographic, phonographic, etc.) in order to answer their research questions.
• CROSSING aims to offer a space for exploration within which members are invited to cross artistic and disciplinary boundaries, while preserving music and sound at the heart of the approach. This axis therefore brings together researchers, researcher-creators and creators in music, and will be able to accommodate, depending on the projects, members of other artistic practices and disciplines, in particular literature, communication, as well as science and technology. applied to music. In addition, this axis is in itself transversal, to the extent that the projects and themes linked to it fall under the three previous axes at the same time.