Doctoral Research Study – Part 2k
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
Bordering my music-making practice
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.
A holistic view of a higher degree research study
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. 2015b. Preparing for Research Study image courtesy of David L Page Created 19th November, 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
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