My journey continues….
This blog is a continuation of a series. See here (Page 2015a) for the previous blog.
Year 2015: 2nd Observation Part k
As part of the professional doctorate program I had entered, we were inducted into the world of academic research study. Whilst I was a relative open book in terms of my quest for new knowledge, I found the requirements of being fast-tracked from a position of practitioner into the world of academia at a doctoral level, overwhelming. The level of growth required was enormous.
As part of our program, we were being led to examine three (3) aspects of our practice:
the field and discipline of practice
the site of our practice
and me as a practitioner
Over the preceding ten (10) blogs – Parts 2a through 2i – I have developed my knowledge in the fields and disciplines of contemporary music-making, and as a result been able to border – and define – my music-making practice.
I have looked in depth at:
a. Historical development of the industry from the 1830’s to the current era. Recording industry – from the invention of the 1st recording, microphones, corporate studios, progressing to large format recording studios
Digital Technology – Consoles
Digital Technology – Organs, Synthesisers, Samplers
Consoles – DAWs and, Digital Virtual Instruments – Organs, Synthesisers, Sampler
b. Industry standards of practice – commercial
Industry standards of practice – technical
Industry standards of practice – creative, aesthetic or affective
Industry standards of practice – soft skills
c. Defining DIY
d. Social, Cultural and Music-making practice Related
e. Changing Face of Music Production
f. The traditional definition of Music Producer
g. A new discipline of music-making emerges
h. The contemporary music-making practice
i. The contemporary music-making practitioner
Following this historical investigation, I examined me as a practitioner, outlining:
a. My autobiography as a music-maker
b. What form my practice currently takes
c. Broadening definition of music-making practice
d. Changing motives of practice
I then outlined my specific site/s:
e. My sites: my DIY Studio Production setup/s.
I concluded the bordering – defining – my music-making practice with:
f. Defining the Music Production process
g. Defining a holistic DIY Music Production process
In the following three (3) blogs, I outlined the Aim of Research Study, listed the existing theory and research studies had already been completed within the industry, field and disciplines; and finished outlining the significance of this research study for the industry, field and discipline.
By the end of 2015, my research study journey was well under way. As outlined in the preceding sections, I had begun my investigations across six (6) areas (see figure I below). I had gained clarity regarding the Industry and field of my practice, and standards of practice; my autobiography and events in my life that may have influenced who I am today. I had started to examine my practice, and identify the elements of praxis. I investigated the field and discipline theory, identified the lens that I viewed the world; and developed an appropriate research methodological approach.
Figure I – Preparing for Research Study (Page 2015b)
In doing so, I developed my research study brief. I gained clarity as to how the research study was situated, and the scope of the project. Additionally, I was clear on the potential benefits – the significance of this research study could have – in terms of the wider industry, various fields and disciplines. I did not assume for one moment that I was an expert in any of the areas. This twelve (12) month entree had provided me enough information to understand I was a novice academic research practitioner. Such research had provided me an opportunity to start to frame my music-making practice, in ways I had not previously considered.
My eyes were starting to open re who I, David L Page was in terms of my contemporary music-making practitioner identity. I had looked at a number of events in my life that had in some way influence over my approach to music-making. I had always known I had vast musical influences, but it was only in putting them together into a mind-map, that I comprehended the vastness of these, and could begin to make additional linkages between what may have seemed to be contrasting music styles. In doing this, I could better understand the diversity of my music-making practice, and why I was perhaps so enticed to so many corners of music-making practice. In re-exploring such diversity as outlined in the previous blogs, I recognised the need for me to develop how I defined my music-making. I accept now that my definition of music-making necessarily needs to include a broader term that is inclusive of everyday music-making engagement – that of musicking.
At the end of 2015, despite my twelve (12) months of intensive investigation and discovery of new knowledge, I accepted that I was in many ways, only just beginning my formal academic journey.
This blog series is planned to continue next month with Doctoral Research Study – Part 3 (Page 2015c). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017 2nd Observation image courtesy of David L Page Created 10th June, 2017
Page, David L. 2015c. Doctoral Research Study – Part 3 Accessed 29th April, 2015
Page, David L. 2015b. Preparing for Research Study image courtesy of David L Page Created 19th November, 2015
Page, David L. 2015a. Doctoral Research Study – Part 2j Accessed 15th April, 2015
Page, David L. 2014 image courtesy of David L Page Created 15th December, 2014
– @David L Page 20/11/2015
– updated @David L Page 01/12/2015
– updated @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.