Research Practitioner Series – Part 28e
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).
This post, HDR Project 1 Submission: Conclusion includes the Conclusion of this exegesis, and the Reference List (Page, 2018m).
Conclusion
4.0 Project 1
At the outset of this Project 1, I had the responsibility to investigate existing knowledge in both literature and textural resources. I was hoping to discover existing knowledge that provides any degree of insight into the many unanswered issues I have had over the past several decades. Some of which were: defining the term music-making now encompass; discussing the concepts of hybridity and convergence; broadening of terms to include music & sound; consider the so-called connection that many of us humans feel while consuming music; exploring self, aesthetic experience, motives, and values in general, and specifically related to music and sound-making practice; and investigate how can one subjectively connect to one form of music, and not another form of music. My rigorous investigations of these issues have led me to the question:
How do the interdependent tenets of hybridity/convergence, agency and subjectivity afford – or inhibit – one’s authentic connection to contemporary DIY music and sound-making practice?
I engaged in academic peer-reviewed literary and textural resources across Project 1. However, the majority of my initial engagement in these resources was related to Chapter 2, research methodology. The dual role component of my research study was in many ways, the most troubling for me to understand. As such, I spent a large percentage on my research time, observing, researching and narrating my applied experiences. I was wrestling with how I was going to conduct myself in the dual primary roles of being both the practitioner as subject, and the researcher. I recognised the impact my historical failure to engage in conscious, deliberate and systematic reflective practice, was having on my creative practice. This motivated me to explore more. As my investigations deepened, engaging in peer-reviewed literature and textural resources, I discovered a particular lineage of musical style. This proved illuminating; highlighting aspects of practice – theoretical and practical – I hadn’t previously entertained. In many ways, this provided explanation why my creative –music-making – practice, and me as a creative practitioner, had not developed to my expectations. Engaging in this Project 1 pilot study has afforded me the opportunity to set parameters around the broader research study, defining what was to be in scope, and what was not. As I have progressed through the many twists and turns of my Project 1 Doctoral pilot study, I have gained deeper insight into my practice; and more importantly my self. This Project 1 pilot study has informed my Project 2 Research Study; confirming the parameters of such a study, highlighting aspects that may not have been obvious to me initially (in Year 1 of the doctoral study as I was developing my research study brief). Engaging in such a pilot study has enabled the production of a quantity of rich data for critical reflection and analysis; enabling me to demonstrate an expected level of rigour, in order to demonstrate the validity and worthiness of such a Project 2 Research Study. I look forward to continuing on my doctoral research study, further investigating my practice across the three (3) central aspects of a sustainable authentic creative practice: creative arts-making, meaning-making, and self-making, and reporting my interpreted findings and cultural production outputs at the end of part two (2) of this emergent journey.
4.1 Intention of Project 2
As outlined in Chapter 1, as a result of my pilot study, I started to illuminate what seems to have become a highly fragmented and yet complex field of contemporary creative practice. As I progress into Project 2, I suspect I will need to continue to investigate the revolution of those engaging in music and sound-making practice; the result of ongoing exponential technological change, social and cultural developments, and the changing structure of formal hierarchical industry structure. Practitioners with diverse backgrounds and influences have contributed to increasing levels of hybridisation of musical styles. Like their peers before them, contemporary practitioners continue to appropriate from any musical style. However, with ongoing exponential technological change, social and cultural developments, the speed and complexity of hybridisation have exponentially increased. Hybridity has now reached levels, where music and sound-making practice styles have converged, relative to what were once clearly delineated musical styles with segmented stages, roles, elements, workflows and technologies common within each approach. Highly hybridized – convergent forms of practice introduces levels of complexity to those practitioners and consumers who are not conscious of the legacy and lineage of the appropriated musical styles; and are not informed of the qualities and characteristics of each musical style.
However by this intermediary stage of my research study, I am starting to realise there are inconsistencies in my attempts to explain my connection to one form of music-making practice and not another form of music-making practice relying only on the elements of praxis. Rather than focussing on elements of praxis, I was revealing evidence in my investigative readings that these connections may be differently explained by considering approaches to music and sound-making practice. I had up until this point been primarily focussing on increasing hybridised mainstream pop forms of music, such as Moore uses as the basis of his analysis of contemporary music-making practice (Moore 2012). Immersed within my own bias of learning and development to an increasingly hybridised form of music-making practice that I was influenced by, and subsequently drawn to at a very young age, I had not considered other approaches that had been progressively appropriated by music-making practitioners over the proceeding decades. This moment is currently unfolding; proving to be a pivotal – a catalytic, an epiphanic moment – in my research study. As this discovery has occurred very late in Project 1, I have yet to complete a thorough literature and contextual review. I intend to continue to investigate this, and include this as a second Literature and Contextual resource review chapter in my Project 2 document. At this stage of my investigations there appears to be differences between three (3) broadly categorised approaches to music and sound-making practice: that of roots-based, High Arts-based and electroacoustic and sonic arts-based approaches to music and sound-making practice. My initial inquiries indicate there are differences within these approaches to music and sound-making practice, when comparing and contrasting the various stages of practice – that of learning, composition, production and consumption. I hope to continue to develop a more holistic approach to contemporary DIY music and sound-making practice, in order to understand the broadening subjective position of the practitioner and practitioner self. As an outcome of my research study, I hope to understand the developing agential positions required in hybridised/convergent forms of music and sound-making practice that are likely to include both homogenous and heterogeneous forms (Vella with Arthurs 2003, 143, 171). I begin to explore the perspective: spontaneous, pre-verbal imaginal play, in flow, affords a practitioner the opportunity to authentically connect to the practice activity (Lawrence 2012, 473; Nakamura & Csikszentmihalyi 2014a, 258, 206). I suspect contemporary practitioners in hybridised/convergent forms of music and sound-making practice require more developed forms of technical and extra-technical skills; and rational and extra-rational faculties agency, to authentically connect to practice than previously required. I suspect a synergistic outcome of a practitioner self with more developed functional and faculty agency is; they are afforded the opportunity to authentically connect to their desired creative practice in a sustainable consistent manner, irrespective of the approach to music and sound-making practice, the practice environment, the stages or the elements of praxis.
As outlined in Chapter 3, whilst I have gained considerable insight in my initially outlined problem, I need to continue my investigative research and engagement in creative practice. I plan to develop the data and insights generated in my DCI Project 1 pilot study. The title of Project 2 is to be: “Sounds that resonate… Developing sustainable authentic contemporary creative practice across three (3) tenets: creative art-making, meaning-making and self-making”. I intend to continue to generate four (4) forms of data: firstly, a range of documents including various computer-based applications and handwritten notes and charts; secondly; reflective narratives of my journey to date, informed by literature and textural resources; thirdly, exploratory music and sound practice sessions experimenting with a range of processing to create a psychedelic musical style aesthetic; and experimenting with creating music and sound objects and events as associated memory narratives of significant events in my life; and fourthly, the series of creative written memory narratives of selected significant events in the first twenty (20) years of my life. In addition to these forms of cultural production data, the exegesis will represent my critically reflections of the multiple forms of data gathered across the Project 1 pilot study, relative to what was experienced in Project 2. The intention is to continue to narrow my research study and critically reflect upon, and analyse my music-making journey across the three (3) tenets of: creative arts-making, meaning-making and self-making. It is intended that this process will generate new knowledge in understanding the process of sustainable authentic creative practice specifically, demonstrating utility across broader and varied forms of practice.
Page’s (2016n) 20 part series of re-experienced memory blogs of significant events, which will inform the 15 minute music and sound narrative.
Page’s (2018a) A schematic draft of the 15 minute soundscape narrative of associated memories of significant events; with psychophysiological responses to re-experienced memories as the resonant pulse.
Please now refer to HDR Project 1 Submission: Appendices for the continuation of this document which includes the Appendices and a Bibliography (Page, 2018n).
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Please now refer to HDR Project 1 Submission: Appendices for the continuation of this document which includes the Appendices and a Bibliography (Page, 2018n).
