Doctoral Research Study – Part 1

My journey begins….

~DLP Pro Image Fun 5b small.20141020

(Page 2014a)
This blog is a continuation of a series. See here (Page 2014b) for the previous blog.

Year 2015: 1st Observation

Commencing the doctoral program, I had a relative clear idea of my proposed research study problem. I say relative as, as I have progressed through the many twists and turns of my doctoral program, I have gained clarity regarding just about every aspect of my planned research topic – my practice, my self understanding, the music styles I am attracted to, the reasons I use certain technologies, workflows, just to name a few. In few ways do I consider my self to be the same person – the same practitioner as when I considered embarking on this post-doctoral journey in 2014. This is my journey. Buckle up, as I take you for the ride of my life.
By the end of 2014, I had a clear idea of my research study problem. I made music in two ways:
  1. using physical instruments; and,
  2. using digital virtual technologies
I wanted to know why I felt connected to my music-making when using physical instruments, and why I largely did not feel connected to my music-making when using digital virtual technologies.
I made music via physical instruments. I strummed chords on a guitar or piano, hummed or played a melodic phrase, developed lyrics, and over time a song emerged. I felt connected to the music. I recall getting positive feedback when I shared my acoustic instrument-based songs with an audience. I followed this approach many hundreds of times over several decades.
As technologies developed, I transitioned into music-making using digital virtual technologies. I invested in virtual technologies, trialling a number of virtual music-making applications – digital audio workstations (DAWs). I experimented; I spoke to local pro audio retailers; I experimented some more; I bought instructional books and videos; I studied; I experimented a lot more. Over a number of years however, I found that irrespective of how much time and money I invested into my virtual music-making production practice, I never managed to achieve a similar flow or a similar feeling – a creative high – as I had music-making using physical instruments. There was one instance, a remix project where I felt a connection. That experience gave me hope that my attempts to use virtual technologies to make music I felt connected to, was not going to be in vain.

1st Observation.P1a.renamed

(2017)

End product orientated in my music-making

I acknowledged that I naturally took an end product focus with my music-making. Perhaps due to the relative ease I made music via physical instruments, I had never felt a need to consciously consider my music-making process. Similarly, I viewed my music-making in virtual technologies from an end product perspective. However, because I struggled with the results of my making music via virtual technologies, I had begun to realise that I perhaps needed to reconsider that approach. Perhaps I needed to consciously consider my music-making process?
A question that arose in my mind was:
  • how did I achieve this connection in one form of music-making – using physical instruments, and not another form of music-making – using digital virtual technologies?
onion-layers
This blog series is planned to continue next month with Doctoral Research Study Part 2a (Page 2015). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017 1st Observation image courtesy of David L Page Created 10th June, 2017
Page, David L. 2015. Doctoral Research Study Part 2a Accessed 15th April, 2015
Page, David L. 2014b. Pre-Doctoral Research Study Part 2 Accessed 30th April, 2017
Page, David L. 2014a image courtesy of David L Page Created 15th December, 2014
– @David L Page 29/01/2015
– David L Page 15/04/2015
– David L Page 10/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page

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