AcknowledgementsIntroductionWilliam BrooksMusic, Poetry, and PossessionRichard ShustermanPart 1: DoingThe Pragmatic Musical-Gestural PerformerWinnie HuangShaping Interpretation through Experience: A Case for a Pragmatic Approach to Contemporary Music PerformanceMarco FusiExperiments in Experience: Listening to Rooms and PianosVictoria Tzotzkova and Fiona SmythThe Rehearsal Process: Finnissy, Hespos, and Pragmatic Approaches to IndeterminacyClare LesserPart 2: MakingAs If Unobserved: Experiments towards a Publicly Visible Composition PracticeCaitlin RowleyGame-Show; or, The Playful Work of the VoiceNicholas BrownThe Velicon and Music of ExperienceIvana Miladinović PricaPart 3: ObservingHow to Embody Truth? Jenny Hval’s Experimentations with Music and VoiceThibault GallandThe Life of Rhythm: Musical Time, Dewey’s Pragmatism, and Jazz ImprovisationGarry L. HagbergPeirce’s Aesthetic of ExperimentAnn WardeMusic News in the Progressive Era: American Experience as Civic Participation, Everyday Living, and Music MakingDeniz ErtanRedefining Progress at the Intersection of AI and Artistic ResearchAmbrose FieldOnline MaterialsNotes on ContributorsIndexChallenging perspectives on artistic research in and through experimental discourse“Truth happens to an idea.” So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of “doing and undergoing.” But what do these ideas have to do with music, or with research conducted in and through music—that is, with “artistic research”? In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses of noteworthy practices; some view historical continuities through the lens of pragmatism and artistic experiment. The resulting collection yields new insights into what musicians do, how they experiment, and what they experience—insights that arise not from doctrine, but from diverse voices seeking common ground in and through experimental discourse: artistic research in and of itself.“Truth happens to an idea.” So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of “doing and undergoing.” But what do these ideas have to do with music, or with research conducted in and through music—that is, with “artistic research”? In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses of noteworthy practices; some view historical continuities through the lens of pragmatism and artistic experiment. The resulting collection yields new insights into what musicians do, how they experiment, and what they experience—insights that arise not from doctrine, but from diverse voices seeking common ground in and through experimental discourse: artistic research in and of itself.