HDR Project 1 Submission: Appendices

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Research Practitioner Series – Part 28f

The following represents the formal submission of my Higher Degree Research (HDR) Professional Doctorate Project 1 Document.

This 47,000 word (excluding references, bibliography and appendices) document is in many ways equivalent to a traditional PhD Doctoral Program Confirmation Document.

The document has been split across 6 blog posts due to its size.

Please see HDR Project 1 Submission: Introduction for Title page, the Abstract, the Statement of Originality, the Contents, and the Introduction of the Exegesis (Page, 2018i).

Please see HDR Project 1 Submission: Literature Review for Chapter 1 Literature Review (Page, 2018j).

Please see HDR Project 1 Submission: Methodology for Chapter 2 Methodology (Page, 2018k).

Please see HDR Project 1 Submission: Creative Practice in Critical Perspective for Chapter 3 Creative Practice in Critical Perspective (Page, 2018l).

Please see for HDR Project 1 Submission: Conclusion for Chapter 4 Conclusion, and the Reference List (Page, 2018m).

This post, HDR Project 1 Submission: Appendices includes the Appendices and a Bibliography to conclude this HDR Project 1 submission (Page, 2018n).

Appendices

Appendix 1

Page’s (2015c) DLP’s Musical Influences: from family, friends and media influences, ordered into lay musical style categories

Page 2015c https ://davidlintonpage.com/2015/05/30/doctoral-research-study-part-2f

Appendix 2

Praxis v5a: When I reflected on practice, self was a starting point of my practice. Then I realized listening was always present in some form. What I highlighted was an inextricable link between self and music practice, with listening at the core. V5a is represented in a linear, sequential, systematic form.

Page, 2017d. https://davidlintonpage.com/2017/12/27/doctoral-pilot-study-part-24a

Appendix 3

Investigating: exploring approaches to music and sound – Vella (with Arthurs) 2003

Page, 2016c.

Appendix 4

By mid-2016, Praxis v5b moved to a circular, non-sequential representation. By mid-2017, the number of elements & stages of Praxis v9k had expanded from the original 5 stages and 6 elements to 8 stages of practice, and 22 elements of Praxis.

Page, 2017d. https://davidlintonpage.com/2017/12/27/doctoral-pilot-study-part-24

Appendix 5

In my quest for a theme for the cultural production that I could connect to, I started noticed the significance of 3 of the elements of Praxis: music style; compositional approach and music production approach. There was something there, but I wasn’t sure what…

Appendix 6

The development of my Significant Events

Page, 2016q.

Music & Sound soundtrack theme:

Significant events of my life, between 0 and 20 years of age

Highlighted significant event periods:

- - - - Age 2: Exeter Rd
        
        Age 4: Peter Rabbit Kindergarten
        
        Age 5: Puffing Billy, Victoria
        
        Age 7: Exeter Rd
        
        Age 9: Cricket season pick
        
        Age 10: My first guitar
        
        Age 11: Trixie
        
        Age 12: Water fight at Lindfield East
        
        Age 13: Exploring guitar
        
        Age 14: All bent out of shape
        
        Age 14-16: Looking for something
        
        Age 15: Friend departs
        
        Age 16 Part 1,2,3: Independence Day
        
        Age 17-19 Part 1,2: Independence; bouncing off walls
        
        Age 20 Part 1,2: Desperate times; the crash

Appendix 7

The theme for the cultural production led me to consider a soundtrack, rather than a roots-based style song I had a degree of routine expertise in. This raised the following questions, and led me to literature:

What is associative memory?

- - - - Vella with Arthurs (2003)

When I reflect on a specific past event, what music & sound do I hear?

- - - - value of music: Budd (1992)
        
        imitation vs representation: Graham (1995)
        
        emotional sounds & the brain: Panksepp & Bernatzky (2002)
        
        neural responses: Janata & Grafton (2003)
        
        emotional responses: Juslin & Västfjäll (2008)
        
        meaning of music: Cross (2009); Cross & Tolbert (2009)
        
        neural responses/aesthetic experience: Brattico et al (2013)
        
        electroacoustic approach/imaginal expression: Young (2015)

How am I going to best represent this specific past event in music & sound ?

- - - - subjectively?
        
        others to interpret?

What is the value of music?

- - - - interpretive?

How do we make meaning?

- - - - experiences?
        
        multiple experiences?
        
        agency?

How does this relate to self-making?

- - - - subjectivity?

Appendix 8

Music & Sound soundtrack theme:

Significant events of my life, between 0 and 20 years of age

A Blog series of highlighted significant event periods:

Page, 2016r https://davidlintonpage.com/2016/10/24/memory-introduction

Appendix 9

Music & Sound soundtrack theme:

Significant events between 0 and 20 years of age

Hyper linked blogs of developed narratives for each of the highlighted significant event periods:

Appendix 10

As I progressed through Project 1, I interpreted I was working through specific developmental phases of self-making and meaning-making. I noted these phases were distinct, though not necessarily occurring in sequential order. I noticed I returned to each phase on multiple occasions during my practice:

Identity (Kegan 1982; Brewer 1991; Frith 1996; Hargreaves et al 2002; Hallam 2017; Denzin 2016)
- Values (Rokeach 1979; Hofstede 1984; Green 1988; Mezirow 1991; Lakoff 1997; Reimer et al 2002; Hesmondhalgh 2013)
  - Narrative (Neisser 1994; Ellis & Bochner 2000; Hermans 2001a; Cobley 2001; Elliot 2005; Atkins 2008; Taylor & Littleton 2012; Gongalves & Ribeiro 2012; Sagan 2015)
    - Embodiment (Budd 1992; Tagg 1994; Hermans 2001a; Reimer et al 2002; Hermans & Gieser 2012; Fogel et al 2012; Lawrence 2012; Denzin 2016;Pace 2012; Ellis 1997)

Page, 2017d. https://davidlintonpage.com/2017/12/27/doctoral-pilot-study-part-24a

Appendix 11

My developing composition of Significant Events: integrated into this composition are faculty (psychophysiological) responses of affect (emotion), across the predetermined associated memories of each of the significant events.

Page, 2018a.

Appendix 12

I continued to engage in both practice and literature, and delve into my previous observation and unrest with the three (3) elements of Praxis: music style; compositional approach and music production approach. I was starting to consider that perhaps a better way to explain my connection to music and sound-making was not to be via developing Praxis; but rather in investigating and analyzing approaches to music and sound-making practice.

[Editorial comment: This image is titled ‘Mid-Project 2 approach’, but in retrospect, this proved to be incorrect. The title ‘End-Project 1 approach’ would have be more accurate given the time-line of the emergent HDR Journey as it turned out]

Appendix 13

Sullivan, 2010. Sullivan’s Visual Framework

Appendix 14

A potential outcome of Project 2? A holistic model, integrating all 3 tenets of self-making, meaning-making and practice-making, (subjectivity, agency, hybridity); overarching the phases of identity, values, narrative and embodiment to arrive at a 3 dimensional model of sustainable authentic practice?

Appendix 15

The three interdependent (3) tenets of contemporary practice: creative practice-making, meaning-making, and self-making.

Page, 2018d.

Page, 2018e.

Page, 2018f.

Page, 2018g.

Appendix 16

Blog category topics summary document: a section of Page’s blog summary and scheduling document, with each line summarising key information for each publically hosted blog. As at 01/09/2018, I have approximately seventy (70) blogs publically hosted, totalling 150,000 words. I have another fifty (50) blogs currently scheduled for release.

Page, 2018h.

This now concludes my HDR Project 1 Submission series. Please watch out for further HDR Project 1+ and Project 2-related blog posts for the continuation of this emergent journey.

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