Simply stated, scholarly/artistic engagement in the Music Department consists of a spectrum in which "publication" is on one pole and "performance" is on the other. Research activity on either side is considered equal, yet the Department recognizes (and emphasizes) a fluidity between these extremes.
Therefore, evidence of successful research in Music may take a variety of forms and may also evolve according to professional skill and interest. That being said, the Department elects to define the polarities in describing scholarly and creative activity in Music.
1. Scholarly Activity/Publication
Scholarship includes research, writing and publication. The three main areas-music theory, musicology, and ethnomusicology-have an especially wide duty to carry out: to inform others in the field, to inform professional and amateur performers, and to inform lay audiences. The American Musicological Society declares that it advances "research in the various fields of music as a branch of learning and scholarship (By-Laws, as amended, March 1998). To this end, books, musical editions, chapters in books, articles, and reviews in journals (both scholar- and performer-oriented), and authoring music computer programs fulfill this goal. (Reviews in journals count as scholarship and may be regarded in some cases as equivalent to writing a scholarly article.) Projects (e.g., conference panels, leadership in professional societies, consulting, peer review, musical transcription, etc.) that support and advance the musical/academic growth of the scholar him/herself are also included. Blind peer-review, common in many fields, has only limited importance in music scholarship; the fields are small, anonymity almost impossible. Work that reaches the national or international arena is expected.
2. Creative Activity/Composition/Performance
Music composition includes composing or arranging works of music, publication of said works, and public performance as the goal. Performances outside Kenyon in the regional, national or international arena are expected. Performance includes 1) directing and/or coaching musical ensembles for public concerts, 2) performing as a member of a professional ensemble, and/or 3) individual public performance by the faculty member. These areas are equal in value, yet expectations vary depending upon the area chosen. In the first example, musical ensembles may be Kenyon or non-Kenyon, but any performances should give evidence of appropriate programming, awareness of trends and performance practices, and imaginative interpretation of musical scores. For the second example, the faculty member should demonstrate significant and continued musical growth through participation in a professional-level ensemble. In the third example, the member should again demonstrate technical mastery and musical imagination through solo performance. In each of the above cases, performances outside Kenyon in the regional, national or international arena are expected, though activity on campus and the surrounding community is essential. Other evidence of success in these areas includes music reviews, recordings, appearances at conventions or festivals, etc. Faculty members who lead Kenyon-student ensembles may properly conflate their work in this area as both teaching and scholarly activity; skillful preparation of performers and inspired artistic interpretation are intrinsically and inextricably related.
Public lectures and significant participation (papers given, offices held) in related national/international societies are a part of the ongoing duties of every scholar/artist.