Doctoral Pilot Study – Part 24b

onion-layers

Research Study

Abstract

The aim of this Doctor of Creative Industries Research Project is to investigate both my DIY music and sound-making practice and my self as a practitioner during the process of creating and producing a cultural artefact (EP).  My research study is designed to be a multi-method qualitative study: a practice-based, arts practice as research, auto-ethnographic study that is to include a first-person narrative of my personal journey, critical reflection and reflexive practice, highlighting the co-constituted nature of my music-making practice. As an auto-ethnographic study, I designed the project for me to be performing the dual primary roles of being both the practitioner as subject, and the researcher. Such a multi-tiered examination represents a significant departure from current discussion of music and sound practice, developing praxis of contemporary practice. In this Project 1 research study exegesis submission I narrate the process to date, highlighting observations around my practitioner self,  my music and sound-making practice and the emergent distinctions integrated into my developing contemporary music and sound-making praxis.

~DL with Gretsch + C414.20141006.P21

(Page 2015a)

Preamble

Continuing on from my previous blogs (Page 2015b) in this series….

In the beginning……

My journey in music-making commenced a number of decades ago. I made music via physical instruments without much thought of the process. 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 process; 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 process several hundred times over several decades, and because of the relative ease these songs came to me, I did not feel a need to consider my music and sound-making process.
As technologies developed, I transitioned into music and sound-making using digital virtual technologies. I invested in virtual technologies, trialling a number of virtual music and sound-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 and sound-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. My frustration using virtual technologies to make music grew. I enrolled into a practical tertiary course. The course assisted me greatly to develop my theory and practical skills. However, using virtual technologies to make music that I felt connected to, (largely) continued to elude me. 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. I continued to experiment; I continued to read; I continued to invest; I continue to immerse my self into my virtual music and sound-making production practice. However, I still found I wasn’t achieving a similar flow or a similar feeling – a creative high – using virtual technologies to make music as I had music-making using physical instruments. My frustration was at an all-time high. I had arrived at a juncture in my life where I felt there was now no alternative: my virtual music and sound-making production practice needed an intervention. I needed to put my creative practice using virtual technologies to make music and sound under scrutiny. In 2014 I applied to a formal academic research program – a professional doctorate program. I commenced the program in 2015. My formal research journey began.

My doctoral research study……

Research Study – 1st Observation:
I acknowledged that I approached my music and sound-making practice in terms of the outcome – the finished product. I was not considering the process in which I was music and sound-making, any more than with a cursory glance. My music and sound-making practice was product-driven.

(Page 2017a)
I recognised that I approached my music-making with physical instruments in a different manner to my approach to music and sound-making using virtual technologies (using my laptop to make music and sound for example). In drilling down I determined that much of this was how I viewed both devices.
Physical instruments as I played were derived directly from nature. Pianos and guitars that I played were manufactured from woods from the forest. They are physical instruments that have natural resonant qualities. The woods expand and contract, depending upon temperature and humidity. They are large instruments that I can touch, embrace and/or feel the resonant qualities as they are played.
I viewed virtual technologies very differently. The actual device that housed the music-making application software (DAW) was a computer (a laptop for example). I saw a laptop as a device that houses many many application software that enabled me to record data and/or make transactions. I used computer technologies for administrative purposes (applications such as iNote, word, excel, etc); organisation purposes (applications such as iCal, reminders, etc); and everyday personal and business management (services such as the internet-based social media sites, banking sites, utility sites to pay bills, etc). I viewed the music and sound-making application software (DAW) as somewhat removed from me. It was housed in a aluminium and plastic case, that I could see, but not touch. The virtual keyboards were engaged by pressing a computer keyboard letter;  or perhaps a key on a plastic physical keyboard controller. Neither devices are derived directly from nature. They are manufactured. A computer and a keyboard controller are physical devices which also have natural resonant qualities. They only minimally expand and contract in extreme conditions, with such occurrences perhaps likely to render these devices inoperable. There is also a slight delay between the time you touch the key and having the sound emitted out of the computer monitors. They are not what I consider to be large resonant devices that can be embraced and/or feel the resonant qualities as they are played, such as I experience with a piano or guitar.
Research Study – 2nd Observation:
As I attempted to scope out the parameters of my research study,  I was led to look at the industry of my practice, the field of music production, and the particular discipline of virtual technologies to make music. This process revealed gaps in my knowledge, and enabled me to form linkages across several strands within the field of contemporary music production.
I then looked in greater detail at the history of my practice, understanding for perhaps the first time the implications of how I approached my music and sound-making practice – as product rather than process.  I also started to consider me as a practitioner, as the music and sound-maker. Who was I? How did I arrive to be this person?
My eyes were starting to open.
(Page 2017b)
Project 1 Pilot Study – 3rd Observation:
As I progressed my initial Project 1 Pilot Study, exploring the parameters of my music and sound-making practice, I started to highlight certain elements which I considered key to my practice. As a flow on from my music and sound-making practice, I acknowledged that the self was an element that had to be included. What motivated me to practice?
3rd Observation.P3b.renamed
(Page 2017c)
My music praxis (v4) had six (6) elements listed: self, motive, music style, location, technology and workflow.
dlp-music-praxis-v4-large-with-lines-20151203-p1
(Page 2015b)
My initial pilot study was to be an exploratory investigation to determine the parameters of my music practice; and to investigate what – if any – relationship existed between these elements. I engaged in conscious, deliberate and systematic reflective and reflexive practice of my creative practice, and as part of this process I felt obligated to consider everything that I observed.
As I progressively immersed myself into my quite isolated pilot study, I began to focus in on what I was doing at any point in time, as both the practitioner subject and the observer/researcher. To juggle both responsibilities was not beyond challenge and limitations. How was I to do both – be the creative practitioner, and simultaneously observe my practice?
Project 1 Pilot Study – 6th Observation:
One of the first elements I noted to be part of my developing music praxis (v5) – beyond the initial six (6) elements I had observed at the time of my Project Brief submission – was listening. I noticed listening was central to agency within my practice. Listening directed my choices and decision-making within my practice in terms of music style – in my ability to critically and analytically listen to reference tracks; in terms of my selecting appropriate notes and/or sonic event samples during the creative, pre-production or production stages; in terms of hearing needed or possible options of contra-melodies, rhythms, harmonies or instrumentation during the creative, pre-production or production stages; in terms of determining the degree of adjustment of sound sources or processing that needed to occur during the production or post-production stages.

(Page 2017d)
I started to observe that a central aspect of this listening was also in terms of my practice overall, such as deciding when I needed to have a break. Yes, listening to an inner voice, reminding me I was in need a break from creative practice. I started to notice by paying more attention to my self – to listening to my self – there was a great deal of head chatter occurring while I was engaged in practice.
DLP DCI Praxis v5i.20160531.P1
(Page 2016a)
I had always known of my head chatter, but had accepted it by my mid-twenties as the outpouring of my inner fears as I approached a new experience. By my early-thirties I had learnt to manipulate this head-chatter, to work for me rather than against me. I used my head chatter to consciously motivate and focus my self. I have continued to develop this practice throughout my life, assisting me in preparing for any form of performance, be it: public speaking, education practice (as educator), learning practice (as learner in formal instrument or personal development), and my music and sound-making practice (on stage performing). However, I had never considered, nor explored my head chatter beyond this; particularly within the context of my creative practice.
As I listened more, I recognised that this head chatter – inner speech – did not just consist of just one voice, but were in fact multiple voices; multiple voices with multiple perspectives. As I focussed in on my listening – consciously, deliberately and systematically – I realised these voices were not necessarily independent. There was often a dialogue occurring between them. As I honed my focus and developed my inner listening, I noticed that the dialogue within my head was occurring across three perspectives of time – one of now; one of past; and one of future. In effect, three voices representative of each point in time. As Wiley (2010, P17) refers to it: the I of the present; the me of the past; and the you of the future. An epiphany. A light bulb moment, an ‘aha’ moment for me. The head chatter – as I had always referred to it – that had accompanied me in so many events and stage of my life, was indeed the inner speech of my dialogic self.
As my immersion in reflective and reflexive practice of my research study deepened, I honed in on the incessant daily dialogue of my dialogical self and began to distinguish between the inner speech – the three inner voices, the triadic voices of the I, the me, and the you – for each of my three selves operating at any point in time within the site of my practice: the self, the practitioner self and the observer/researcher self. I would take time to listen to the dialogue at any point in time during my creative practice, as they considered and debated: what I was seeing or observing, what I was hearing, what I was feeling, what I was imagining, what I was recalling, what I was smelling, or even what I was tasting; in order to better understand my music praxis. I devised ways to take notes during my practice of these daily triadic conversations, in order to return to them, reflect on them, and decode them. My music and sound-making praxis developed as a result of this process, to not only acknowledge significantly more stages and elements of my music-making process; but, perhaps most significantly, the non-linear form of my music praxis (v8i).

DLP DCI Praxis v8i.20161231.P1.png

(Page 2016b)
I realised my music praxis was in fact very circular, with reflective and reflexive practice occurring constantly at any point in time. ­
My practice has now developed to the point where I can engage in multiple forms of listening whilst immersed and engaged in any stage of practice. I can now distinguish between the triadic voices of my three selves: the self, the practitioner self and the observer/researcher self in the present, the past, and the future within a very short amount of time, or sometimes, almost instantaneously and/or simultaneously. Just as my critical and analytical listening has developed over many decades of practice, my ability to listen and decipher the dialogue occurring within my dialogical selves at any point in time has also developed.
I liken this developed complex skill to other forms of practice where multiple tasks are required in sequence over a very short amount of time, often times almost instantaneously and/or simultaneously. The practice of driving a car and the practice of performing are similar type complex skills that need to be learnt; and are often awkward or impossible when one first attempts them with no prior experience. The act of driving a car – accelerating, braking, looking to the side for another car, indicating, moving lanes, whilst watching cars to the side, in front and behind is an example of such a complex task. Another example of a complex task would be leading a band, singing into a microphone, engaging an audience, playing guitar, and selecting guitar floor pedals, over a very short amount of time, often times almost instantaneously and/or simultaneously. I recall when I was younger, that I would never be able to learn how to do both complex tasks. Now I reflect on how many times a year I engage in both practices without any preparation, and perform them to a very high level of practice: almost unconsciously.
Learning about, and getting to know my dialogical self has assisted my music practice exponentially. As part of the process, I have developed a greater understanding of my self which in turn informed my practitioner self. This in turn allowed me to develop my music and sound-making praxis to a greater depth and level of detail than I was able to previously. I now have far greater agency of my praxis (v9k), and its twenty-one (21) interdependent elements, at each of the various eight (8) stages of my creative practice.
DLP DCI Praxis v9i.20170420.P1
(Page 2017e)
As a result, I have far greater agency of my praxis (v9k) while practicing music and sound-making. I am now exponentially more focussed and more deliberate in my practice, most noticeably in my music and sound-making within virtual technologies. I have found my self now responding within my music and sound-making micro workflow in a similar vein to that of my performing – improvising – on my long-term physical instrument of choice, the electric guitar. I observe that I now engage – almost instantaneously and/or simultaneously – in the voices of the I, the me, and the you – at any point in time, within my site/s of practice. A split second in-practice, on-practice and for-practice dialogue – in performance, in assessment of what the practitioner self just heard or performed, in consideration of what options the practitioner self now has before them, their decision as to what they want to express, and the performing of the next music-making action. Yes, a fluid practice performance that demonstrates the harmonious integration of the elements of self, listening, reflective and reflexive practice. In essence: I listen, I practice, I reflect, I analyse, I consider, I choose, I prepare to act, I act – almost instantaneously and/or simultaneously.
This Project 1 Pilot Study has been a personal journey of creative and research practice, highlighting the co-constituted nature of my music-making practice. I now engage in the process of music-making in pursuit of authentic expression of self, irrespective of the medium. My authentic music-making practice – in contrast to my practice prior to engaging in this doctoral research – now transgresses the mediums of: physical instruments and virtual technologies. I now have a sense of who I am, what I am attempting to create, why I am attempting to create it, and an affective connection in the creation of it, irrespective of the medium of my music-making practice – physical instruments or virtual technologies. Virtual technologies are now as much an extension of my music-making practitioner self’s body, as playing my physical instrument of choice, the electric guitar. Allow me now to share my finding of this Project 1 Pilot Study – holistic model of sustainable authentic practice – my journey and development through the four (4) phases of: identity-driven practice, value-driven practice, narrative-based practice, and embodied practice.
(Page 2017f)
This blog series is planned to continue next month with Research Practitioner Part 25 (Page 2017g). 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 28th March, 2015
Page, David L. 2017g. Doctoral Pilot Study – Part 25 Accessed 3rd January, 2018
Page, David L. 2017f .17th Observation image courtesy of David L Page DCI Project 1 Research Study Holistic Model of an Authentic Practitioner.  Created 9th June, 2017
Page, David L. 2017e. Praxis v9k image courtesy of David L Page. Created 20th May, 2017
Page, David L. 2017d. 6th Observation image courtesy of David L Page. Created 17th May, 2017
Page, David L. 2017c. 3rd Observation image courtesy of David L Page. Created 17th May, 2017
Page, David L. 2017b. 2nd Observation image courtesy of David L Page. Created 17th May, 2017
Page, David L. 2017a. 1st Observation image courtesy of David L Page. Created 17th May, 2017
Page, David L. 2016b. Praxis v8i image courtesy of David L Page.  Created 29th, November, 2016
Page, David L. 2016a. Praxis v5b image courtesy of David L Page. Created 15th April, 2016
Page, David L. 2015c. Praxis 4 image courtesy of David L Page. Created 1st December, 2015
Page, David L. 2015b. Doctoral Research Study – Part 3 Accessed 1st December, 2015
Page, David L.2015a. image courtesy of David L Page. Created 14th September, 2015
Wiley, Norbert. 2010. “Inner speech and agency.” In Conversations about reflexivity, edited by Margaret S. Archer, 17-38. New York: Routledge
– @David L Page 27/12/2017
– updated @David L Page 03/01/2018
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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Doctoral Pilot Study – Part 17a

~DLP Pro Image 1.20141020

(Page 2014a)
This blog is a continuation of a series. See here (Page 2014b) for the previous blog.
saeq-joint-logo-201309

Reflecting on 2014 ….

My approach to practice was so different to that of my recently recruited peers. As part of the creative media studies stream, learners were now to be immersed in specific creative media lexis and theory, via tasks that guided the aspiring practitioners in the development of them selves as unique and individual creative media identities. They were to learn to critically consider what creative media is for them as practitioners; researching and investigating both concepts and areas of the creative media industry they may possibly choose to engage in via their practice. They were to then apply these concepts to develop their unique creative media practice. With a developed sense of themselves, having time to form their world views, they would be guided in their development as aspiring professional practitioners; and as academic researchers.

2017 Update

I commenced the doctoral program in February 2015. My formal research journey had begun. On the back of the knowledge and approach in 2014 as described in the previous blog in this series, I implemented a new blog strategy at the beginning of 2015. This saw me changing my blog site from tumblr.com to wordpress.com. I did this for a number of reasons, but primarily due to:
  • wordpress.com is what we were guiding our learners to create as their primary creative practice blog site;
  • functionality of the wordpress.com site, including the use-friendly nature of the interface, the editing features, and the ability to publish multi-media within the one entry.
wordpress-site-20160129
(Page 2017a)
A selection of the 2014 journal entries were published retrospectively in wordpress.com as blog posts as soon as I opened that site. In revisiting this particular blog post- formerly named Reflecting Part 2 – now, nearing the end of my Project 1, I have chosen to rename some of those blog posts. Most noteworthy are:
  • my realisation that Reflecting Part 1 was essentially about my self , effectively situating my self in regard to my – at the time – pending  research study. I therefore renamed this Doctoral Research Study Part 1;
  • my realisation that Reflecting Part 2 (this blog post) was essentially about my practitioner self , effectively situating my practitioner self in regard to my – at the time – pending  research study. I therefore renamed this Doctoral Research Study Part 2.
Pre-DCI 2014 Journal Entries.20170430.P2.png
(Page 2017b)
Standing here today, reflecting, I now realise how my focus within this Project 1 was influenced by my experience within my HE education & learning role in 2013 and 2014.  The small sample of blogs I currently have listed on my wordpress.com site under the menu category DCI Phase 0 – Starting Point (Page 2017c) – are representative of some of the new knowledge and approach I acquired and developed during that period.  These journals/blogs were completed prior to my official commencement of my doctoral studies, the research study I was choosing to embark on to seek out answers to my long-term queries regarding my music practice. Yes, these blog entries represented 10,000 words book-ending the beginning of my research study.

My view of 2013 & 2014, looking back from 2017….

Reflecting from this point, I realise now how much I have developed over the course of the past almost four (4) years, in terms of new knowledge and approach. I have developed a new set of eyes in terms of my self, and as a practitioner. I look at my developed identity – self and practitioner selves – in 2017, differently to how I saw my self and my practitioner self in 2013, just under four (4) years ago. I am surprised with the level of detail I now see my self, my practitioner self, and my practice is detailed. After all, I have always actively engaged in reflection. However, two (2) key distinctions have emerged.
Firstly: I always knew I was complex; I always knew I was diverse. I now accept I am complex. I now accept I am diverse. I have a wonderfully varied and diverse life. In my need to ground my self during a period of failing creative practice (‘writers block’?), in order to re-connect to my muse, it was suggested I attempt to re-connect to my identity. As a result, I revisited a task that I have led hundreds of professional through in their professional development; I developed a Charter of Values and Beliefs for my self and practitioner self across my Project 1. Three (3) versions over the course of sixteen (16) months. I noted a summary of these developments in my blog last month:
“Quantifiably, the development across the three (3) versions of the Charter of Values and Beliefs over the sixteen (16) months of Project 1 has been:
v1: 26 green entries – new entries – under 8 categories
v2: 55 entries under 10 categories (112% growth in entries)
v3:  87 entries under 11 categories (58% growth in entries)” (Page 2017d)
Viewing this blog in the graphic below – where v1 is column 1, v2 is column 2, and v3 is column 3  – the level of development across the sixteen (16) months is exemplified (see Research Practitioner Part 18 Page 2017d for greater detail of this chart):.
Charter of Values development v3_v10_13.20170320.P1
(Page 2017e)
Secondly: I acknowledged early in my Project 1 journey that I realised I was a multi-disciplinary practitioner (see Research Practitioner Part 5):
“I began to recognise that I naturally took a multi-discplinary approach in not only my music practice, but in my life in general. I recall few times in my life where I was content to focus on one discipline for an extended period of time. I have accepted that my practice now covers three broad disciplines: a broad definition of music practice (Small 1998), education and learning practice, and my most recent engagement, research practice” (Page 2016).
As per my blog Research Practitioner Part 16 in January (Page 2017f), this passage of time has also provided me an opportunity to realise I am a multi-facetted, multi-dimensional practitioner. Based on evidenced practice-led data, I have documented at various point in my journey multiple instances of how my self informs my practice; and how my practice inform my self.
reflection
Reflecting thus far,  I realise how I immersed my self into this research study, a creative project opportunity that has provided me reflections of my self, and of my practitioner self. I can see with more clarity who I am as a unique and individual creative media identity.  I have critically considered how I choose to engage in creative media – what motivates me – as a practitioner. I have researched and investigated how I engaged in my unique creative media practice. In doing so, I have left no stone unturned. Having crystallised my world view, with a developed sense of my self, I was then able to guide my own development via conscious, deliberate and systematic reflective and reflexive practice of my creative practice, as a professional practitioner; and as an academic researcher.
Yes, much like Bilbo Baggins (Bros 2014) I am grateful in retrospect, for the opportunity to go on the journey into what was largely unknown territory for me – academic research. It was a self-imposed intervention process in many ways, to look at my creative practice through a very different set of eyes than I had previously. I stepped forward out of my comfort zone, and put just about every facet of my practice under the microscope. I was the subject; and I was the observer.  At points I thought I was going out of my mind, observing my practitioner self in the midst of practice, trying to conduct two roles at once. I faced large droughts of creativity, playing with session files for hours on end, and yet not connecting at all to the music I was making. When i finally did connect, i experienced quite the complete opposite situation. All of a sudden I felt I was drowning in a mass of data – electronic and paper notes, creative doodles, mindmaps, charts, textural, theoretical and methodological literature, session files, microphones, recording equipment, software updates, and an increasing list of potential blogs – my attempts to narrate my journey as I progressed. As I near the end of Project 1, and attempt to further streamline my findings, into an exegesis, i immerse my self more into the journey it has been to date.  What a journey to date. Once I submit this document, I can then embark on the next Project this research study journey. I can’t imagine what is install for that next leg.

images

 (Terry-Toons Comics 1945-1951)
This blog series is planned to continue next month with Research Practitioner Part 23 (Page 2017g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Bros, Warner. 2014. “The Hobbit.” Accessed 26th December, 2014
Learning Philosophy image courtesy of:  Learning Accessed 25th December 2014
Page, David L. 2017a. David L Page wordpress.com site Accessed 15th May 2017
Page, David L. 2017b. Revised DLP Blog Category Topics Accessed 15th May 2017
Page, David L. 2017c. DCI Phase 0 Starting Point Accessed 15th May 2017
Page, David L 2017d. Research Practitioner Part 18  Accessed 15th May 2017
DLP 2017e. image courtesy of Data for DLPs Project 1_Music and Sonic Collage.20170529.v39 Accessed 15th May 2017
Page, David L. 2017f. Research Practitioner Part 16 Accessed 15th May 2017
Page, David L. 2017g. Research Practitioner Part 23 Accessed 15th May 2017
Page, David L. 2016 Research Practitioner Part 5 Accessed 15th May 2017
Page, David L. 2015. A Creative Artist’s Need – Gratitude Accessed 15th May 2017
Page, David L. 2014a image courtesy of David L Page Linked-In site  Accessed 25th December, 2014
Page, David L. 2014b. Doctoral Research Study Part 2  Accessed 15th May 2017
Reflection image courtesy of: Reflection Accessed 15th May 2017
Terry-Toons Comics. 1945-1951. Mighty Mouse in Mighty Mouse #38-85  Accessed 8th March, 2014.
– @David L Page 15/05/2017
– update @David L Page 17/06/2017
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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Creative Practitioner – Part 246

Doctorate of Creative Industries Project 1

The Art of self-reflection
(Self Reflection 2016)
This blog is a continuation of a series. See here (Page 2017a) for the previous blog.

Observations of my developing perspective

Based on my observations of practice over the course of this doctoral program, in pure quantitative terms: the number of elements of my Praxis has increased from six (6) to twenty-one (21) elements of practice; the stages of practice has expanded from five (5) to ten (10); and my motives for practice have increased from the original nine (9) in Praxis v4 (end 2015); to nineteen (19) in Praxis v7i (end-2016); and twenty (20) in Praxis v8j (20170401). Perhaps most importantly, my view of what music is, and how I define music and sound-making practice, has exponentially broadened over this time. My knowledge of the lineage, and of the functions and faculties required in each of the approaches to music-making practice has exponentially deepened.
As a music-making practitioner, I believe I had always defined music in what I thought were quite broad terms. I always considered my self blessed to have had such diverse musical lineage influences from a relative young age, such as: European high art-based music; roots-based music from any number of continents and cultures, including indigenous musics from many cultures including Australia, North America, Japan, Thailand, East Africa and India; and electroacoustic and sonic art-based experimental pieces. From the age of eight (8) my house was filled with the orchestrations of European symphonies and operas (see Page 2014). By the age of ten (10), I was immersing myself in all things mainstream popular. Firstly via the only device I had access to, the radio; then, after a piano was placed in my room[1], I dabbled with that instrument over the next few years. My father returned overseas with a semi-acoustic guitar for my brother, which further fuelled my musical desires for particular instruments. Through radio, my brother and his friends, and my friends, my development of a broad range of music and sound styles continued, to include an array of roots-based musical styles such as folk, country, blues, rhythm & blues, rock, rock opera, and psychedelic rock (see Page 1990). Next my father returned overseas with another guitar – an acoustic guitar –; this time for me. I increasingly was using my pocket money to purchase records (45 rpms and then 33 rpm LPs) to satisfy a growing thirst of listening to all things music. From a young age, I was musicking. Inadvertently, as technology was developing exponentially, I was introduced to various alternative forms of music what I know now to have been electroacoustic and sonic art-based experimental pieces; and roots-based experimental pieces. As a result of both my parents regularly receiving international guests; then their relocation overseas and my extensive travelling with them; followed by my independent travels and relationships, I have also experienced a wide range of indigenous music, other than the mainstream popularised westernised form of roots-based music.
Queenland Goods Train
(Hiveminer 2018)
I hear musical elements in many forms of daily life, such as a goods training crossing at a local road. I hear a rhythm as each wheel passes over a particular join in the tracks. If I close my eyes – whilst waiting at the intersection – I hear the metallic sound of metal on metal – the wheel on the rail. Not a screech, but a high frequency that sits in the background of the developing soundtrack that appears to be unfolding before me. I hear the local galahs sitting in the tall gums in the campus behind me, become restless at the noise of the passing train, and squawk as they take off to fly to another location. As the train approaches the station about five (500) hundred metres down the tracks to my left, I hear the driver sound its horn. Within the surrounds of the station, and the commuter car park opposite, the sound seems to spiral into the air, adding further dramatic elements to this soundtrack, being written before me, continuing to unfold as time continues on. Is this music? Is this a musical piece with the homogenous musical elements of duration, pitch, dynamics and timbre (rhythm, harmony, and melody)? Mmmmm… perhaps it would be argued not by High Art-based trained musicologists. But is it a piece of soundtrack that accompanies the experience I am having in my life at that moment in time? Does this piece possess the heterogeneous sonic elements of mass, spatialisation, and sequence an electroacoustic and sonic art-based composition may have? I would respond with a resounding yes. Perhaps more importantly, does this soundscape have meaning – and therefore relevance – to the surrounding environment, the culture, the society, the community, and the individual? If this sample of my soundscape had been recorded, and played to any members of of a community, would they be in a position to derive meaning from it? Some may be reminded of where they once grew up, and be stimulated to travel; some may have a memory triggered, that takes them back to their childhood visiting cane growing areas such as Gladstone, Queensland, as I did as a boy; some may be reminded of being held up by the inconvenience of this train crossing; others may recognise the soundtrack, and get lost in the effect of the sounds of the galahs, the sound of the locomotion for the moment they are required to patiently wait; others may be reminded of where they live, and have their wander to narratives including other sound objects and sound events.

Gratitude

For me, I now take an even broader view of what music is. Music to me is no longer restricted to roots-based song, or High Art-based compositions created by what we know in the west as musical instruments. Music and sound for me now encompasses all things that may be embedded in an electroacoustic and sonic art-based style soundtrack. These may or may not include musical instruments, but will also likely include other sound related textures that may derive from synthetic devices, or from everyday life itself – sonic events, or sound objects.
At this point in time, there is less clear distinction between music-making and musicking. For me, there is less clear distinction between what I see as the elements of Praxis in my music-making practice, and the elements of Praxis in my non-music-making practice. The line between my music-making practice, and my non-music-making practice is now very blurred – if not feint, and becoming more feint every day as more time passes. I would argue, within my head there is always a soundtrack unfolding before me, over time. The primary governor here is, whether I am in a state – a personal space – to listen to the surrounding environment, and allow my self to have a memory triggered, or to immerse myself in musical and sonic textures of the particular soundtrack that is unfolding, over time. When I am in this personal space and allow my self to do so, I often find my self breaking a smile at this point, enjoying the aesthetic of the moment, re-situating one self into a past event, or another location, whilst often simultaneously in full-flight in an unrelated form of practice[2]. I may look around the current site of practice I am in at that moment, and if/as one of the participants asks for assistance, I re-immerse my self back into that moment in time, and interact with that person in full presence. At that moment, I am. I am experiencing every moment both as private self, and social self. I am music-making within the environment by allowing my self to focus on an unfolding soundtrack, over time. A soundtrack that is not created using traditional musical instruments; a sound track that unfolds over time within that environment, drawing on any material generated from within that environment. That soundtrack supports me, as I make-meaning of that soundtrack at that particular point in time, based on my individual experience, memories, emotions and creative choices within my imagination. Concurrently, I am self-making. I am developing my self-image and self-concept based on that experience of both music and sound-making and meaning-making, at that moment of time. I then return to the immediate context – the particular environment of my practice at that moment in time, and engage with someone in real time, assisting them as they require. I am. On this note, I return to my conclusion of Moore’s quote in Chapter 1:
“music can be a useful resource in the development of the self – a way we can develop our identities; it is likely to be an individual experience in terms of deriving meaning; and a way to support the communication of our identities in social and cultural settings” (Page 2018, reflecting on Moore 2012).
I can say confidently that I now have greater clarity regarding my music and sound-making practice. However, the process has been far being a simple one. I had been warned that auto-ethnographic research studies would likely be an affective experience, both revealing and confronting. The warning was appropriate. The journey to date has been both, and so much more. At this stage of the research study, in few ways do I consider my self to be the same practitioner as when I considered embarking on this post-doctoral journey in 2014. In few ways do I consider my self to be the same person. Whilst I still don’t feel academic, I do note my ability to draw on a wide range of knowledge, and offer more frequent insight to those around me from a place of greater conviction, than I had previously. This is perhaps not surprising given the volume of titles of books, articles, and artifacts[3] I have either read or at least skimmed and pondered their relevance to my particular pilot study.

~DLP Pro Image 1.20141020

(DLP 2016)
The phrase music and sound-making, meaning-making and self-making has very clear meaning for me today, that more than likely would have glanced off my ears some two years months ago. I now ponder what I may understand in another two year that may currently glance off my ears? This thought now excites me, despite knowing that in the next Project 2 I am again likely to experience overwhelm and varying levels of anxiousness. I now understand these states represent a disparity between self-image, (in-) experience and self-esteem, that which can only be re-aligned through continuing to practice and realising the learning required. I now accept in the pursuit of new knowledge, as someone on a deliberate path of adaptive learning for fully-functionality and self-actualisation, experiencing these extra-rational faculty affective states are somewhat necessary. Academics such as Csikszentmihalyi (2005), Ohman (2010), Fredrickson & Cohn (2010), Kensinger (2010) connect overwhelm and anxiousness as emotional extra-rational faculty affective states associated with, and having an effect on self-making, meaning-making and practice. As a result of this Project 1 pilot study, I now better understand multiple selves; the causal relationship of emotion, memory and values of self or selves in practice; and how they may influence my decision-making across the broad elements and stages of practice. I can see clearly now[4] how one’s practice informs one’s self, and how one’s self informs one’s practice. I now accept my music and sound -making practice, my creative practice – in fact all of the forms of my practice – as “technology of the self” (Foucault 1988, 16).

onion-layers

[1] My grandfather’s piano our family inherited following his death. For some reason, this piano was put into my room. I do not recall why, but in hindsight, I suppose I am grateful that it occurred given the influence it had on my musical development.
[2] For example, I may be at the time delivering a management training session to a group of business persons
[3] 1,896 titles currently inhabit my Endnote software application, along with another 4,000 PDFed articles, evidencing the breath and depth of textural artifacts and literature I have engaged in this relatively short time frame.
[4] The song “I can see clearly now” was a major influence as I was growing up. Nash, Johnny. 1972. I can see clearly now. Epic. Vinyl LP.
(Reality Shifts 2017)

Next Step

This blog series is planned to continue next month with Doctoral Pilot Study – Part 16a (Page 2017b). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
DLP 2016 image courtesy of David L Page. Accessed 28th November, 2016
Foucault, Michel. 1988. “Technologies of the self.” In Technologies of the Self: a Seminar with Michel Foucault, edited by Luther H Martin, H Gutman and Patrick H Hutton, 16-49. London: Univ of Massachusetts Press.
Hive miner. 2018. South-East Queensland goods train image courtesy of Hiveminer.com Accessed 30th August, 2018
Moore, Allan F. 2012. Song means: analysing and Interpreting recorded popular song, Ashgate Popular and Folk Music Series. Surrey: Ashgate Publishing Ltd.
Nash, Johnny. 1972. I can see clearly now. Epic. Vinyl LP.
Onion image courtesy of: Onion Layers Accessed 28th March, 2015
Page, David, L. 2018. KK59 Project 1 Submission. Accessed 30th August, 2018
Page, David L. 2017b. Doctoral Pilot Study – Part 16a. Accessed 2nd April, 2017
Page, David 2016 Research Practitioner Part 14 Accessed 28th November, 2016.
Page, David L. 2014. Music Practitioner Pt1 Beginnings Accessed 27th March, 2017.
Page, David L. 1990. Memory Age 10  Accessed 30th March, 2017.
Reality Shifts.  2017. Film clip courtesy of Reality Shifts youtube channel.  Accessed 27th March, 2017.
Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth  Accessed 18th March, 2016.
– ©David L Page 01/04/2017
– updated ©David L Page 02/04/2017
– updated ©David L Page 30/01/2018
– updated ©David L Page 30/08/2018
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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Doctoral Pilot Study – Part 15a

Doctorate of Creative Industries Project 1

research

(Research 2016)

Precis

Continuing on from my previous blogs in this series; as I am now into my third year of my post-graduate academic research study,  I felt motivated to revisit and develop my values, goals and beliefs for both my self and my music practice. It is now early- Year 3, with the pending significant milestone being the completion of my Doctoral Research Study Project 1.  You will note in the following blog, the considerable insight I have gained into both my self and my practice over the past three (3) to four (4) months since my last blog post – Charter of Values and Beliefs v2 , on the 28th November 2016.
The Art of self-reflection
(Self Reflection 2016)

Opening remarks

Over the course of the past sixteen (16) months, I have gained new levels of understanding and clarity about my self and practice. The most notable development to the Year 2 (2016) Charter of Values and Beliefs v2 was over a three (3) to four (4) month period from November 2016 to the near end of February 2017. In living my very busy life across full-time employment, research study commitments, creative practice, professional consulting practice and family responsibilities, I noticed I was no longer just restricting my research study observations of my creative practice, but I was now observing how my self was engaging in my multiple forms of practice. It was as though the many forms of practice I had previously treated as quite separate entities, suddenly were being seen through a lens as one of the same thing: a multi-discplinary practice. In realising what was occurring, in January 2017 I recorded my observations in the blog the multi-facetted/multi-dimensional practitioner (Page 2017).
DLPs Multi-faceted Practitioner.20170212.P4
(Page 2017a)
Over the course of this period (from v2 to v3), I broadened the term I refer to my practitioner self from music practitioner to a more holistic view to that of, creative practitioner. From that point in time, the manner in which I now saw my self and my practice has been very much through a non-disciplinary specific – or perhaps a multi-discplinary lens. This illumination was for me, profound. I developed my Charter of Values and Beliefs v3 , and now consider this to be exponentially more aligned with my self and my practitioner self, irrespective of my form of practice I am engaging in at any point in time. Over the course of this period, I broadened the term I refer to my practitioner self, from music practitioner to creative practitioner; to now that of only, practitioner. I am a practitioner across many industries, fields, disciplines and sites. All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site.

(Page 2017b)
The chart below visually shows (left column is v1, middle column is v2, right column in v3) the degree of development of my Charter of Values and Beliefs from v1 (green lines = new entries, and grey lines = no entry), to v2 (white lines = same entry as previously made in v1, green lines = new entries, and yellow entries = a development of a previous green entry), to v3.
Charter of Values development v3_v10_13.20170320.P1
(Page 2017c)
Quantifiably, the development across the three (3) versions of the Charter of Values and Beliefs over the sixteen (16) months of Project 1 has been:
v1: 26 green entries – new entries – under 8 categories
v2: 55 entries under 10 categories (112% growth in entries)
  • 24 white entries (previous existing entries with NO change)
  • 1 yellow entry (development of previous existing entries) [4% change in previous existing entries]
  • 30 green entries (new entries, or complete re-write/change to previous existing)  [115% growth in new entries]
v3:  87 entries under 11 categories (58% growth in entries)
  • 19 white entries (previous existing entries with NO change) [35% of v2 total]
  • 36 yellow entries (development of previous existing entries) [65% of v2 total]
  • 32 green entries (new entries, or complete re-write/change to previous existing) [106% growth in new entries]
However, whilst the quantifiable number of entries demonstrates the volume of change, it is only when you engage in each and every entry, that you can begin to understand the significance of the development from v2 to v3 of the Charter of Values and Beliefs. It is in the quality – the depth and breadth – of these new (green) entries, and the revised (yellow) entries.  I welcome you to engage in my findings that I believe reveals a more aligned self with my practice; with my multi-facetted, multi-dimensional, multi-disciplinary practitioner self; my authentic self.

~DLP Pro Image 1.20141020

(DLP 2016a)

DLP’s Charter of Values and Beliefs v3

onion-layers

Year 1 Research Study Part 1a – who I know I am now

1a. Self: N/A [Value]. N/A [Goal]. I believe self as being central/core to my being [Belief].
1b. Self: In life, I value a phenomenological approach to life – to experience, to learn and to continually develop knowledge and skills. (Just about) Every person has the capacity (ability) to learn – to experience, to learn and to continually develop knowledge and skills (eg: think learning to baby talk, crawl, talk, walk, converse, function at home, go to school, etc) [Value]. I strive to maintain a phenomenological approach to life – to experience, to learn and to continually develop my knowledge and skills. (Just about) Every person has the capacity (ability) to learn – to experience, to learn and to continually develop knowledge and skills (eg: think learning to baby talk, crawl, talk, walk, converse, function at home, go to school, etc) [Goal]. I take a phenomenological approach to life – to experience, to learn and to continually develop my knowledge and skills. (Just about) Every person has the capacity (ability) to learn – to experience, to learn and to continually develop knowledge and skills (eg: think learning to baby talk, crawl, talk, walk, converse, function at home, go to school, etc) [Belief].
1c. Self: I value an empirical evidentiary approach to life – a physical and sensory experience – gaining knowledge by means of my senses, particularly that of observation and experimentation [Value]. I strive to gain knowledge by means of my senses, particularly that of observation and experimentation [Goal]. I gain knowledge most effectively and efficiently by means of my senses, particularly that of observation and experimentation [Belief].
1d. Self: In life I value authenticity [Value]. I aspire to being authentic in life, living true to my values and beliefs [Goal]. I believe I live to a high degree of authenticity in life, living true to my values and beliefs [Belief] [see *Note below].
1e. Self: In life, I value a spiritual approach to life – to develop understanding, respect and acceptance of self [Value]. I strive to maintain spiritual balance within my life – to develop understanding, respect and acceptance of self [Goal]. We are spiritual beings, engaging in a human experience. My human journey is to resolve the limitations, contradictions and inconsistencies of being human – to experience, to learn, and to develop understanding, respect and acceptance of self – and to engage congruently within the physical world [Belief] [see *Note below].
1f. Self: I value a holistic perspective of self, with consideration of the many facets and dimension that each person possesses [Belief]. I strive to see a holistic perspective of self, looking for the many facets and dimensions that each person possesses [Goal]. In life, I accept a holistic perspective of self, revealing the many facets and dimensions that each person possesses [Belief].
1g. Self: In life I value self-reliance [Value]. I aspire to being self-reliant in life [Goal]. I am self-reliant in life, but choose to be, or not to be, as I see appropriate [Belief] [see *Note above].
1h. Self: I value inner speech to guide the self [Value]. I strive to develop my inner speech to act as a more effective inner guide the self [Goal]. I have developed my inner speech to act as a more effective inner guide the self [Belief].
 1i. Self: In life, I value the conscious pursuit of the development of self and identity – exploring one’s narrative – in order to align to one’s purpose [Value]. I consciously strive to in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose [Goal]. I consciously strive in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose. I now possess a clearer view of who I am as a person, and what my purpose is [Belief].
1j. Self: I value the triadic voices of the dialogic self that guide the self across time – ‘the I, the me, and the you’ [Value].  I strive to develop the triadic voices of the dialogic self that guide the self across time – ‘the I, the me, and the you’ [Goal]. I have developed the triadic voices of the dialogic self that guide the self across time – ‘the I, the me, and the you’ [Belief]
1k. Self: In life, I value an embodied approach to life: an immersive physical and sensory experience with physical connection to tools or process [Value]. I strive to exercise an embodied approach: an immersive physical and sensory experience with physical connection to tools or process [Goal]. I exercise an embodied approach in practice: an immersive physical and sensory experience with physical connection to tools or process [Belief]. I am a physical being – a tactile being, a kinaesthetic being, a sensual being that chooses to tools or process [Belief].
1l. Self: In life, I value affective connection [Value]. I strive to be affectively connected [Goal]. I am an affected being [Belief] [see *Note above].
1m. Self: In life, I value balance [Value]. I strive to be balanced, to be a balanced, functional human being – affective, expressive and communicative – spiritually, physically and mentally [Goal]. Whilst being very busy, I have balance in my life. I am a balanced, functional human being – affective, expressive and communicative – spiritually, physically and mentally [Belief].
[*Note: though I became quite imbalanced over the last three months of 2016, by choosing to overlook the balance of my spiritual, physical and mental being. I am happy to report though, this balance has mostly returned by the close of the year].
1n. Self: In life, I value diversity of orientation [Value]. I am very end product/goal-orientated with actions; and I also very process-orientated with expression and reflection [Goal]. Being contrast orientated, I have a great opportunity in life. I believe I am target-orientated and effective and efficient in realising personal goals: I believe I do not waiver from my focus. However along the journey, I believe I am process-orientated in my expression and reflection. I believe I immerse my self in the process [Belief].
1o. Self: In life, I value an open intellect/mindfulness [Value]. I strive to approach life with an open and inquiring mind [Goal]. I approach most aspects of my life with an open and inquiring mind, applying thought and mindfulness [Belief].
1p. Self: In life, I value joy [Value]. I strive to be connected to joy and happiness [Goal]. I am a joyful being [Belief] [see *Note above].
1q. Self: I value a sincere and deep level of engagement with others [Value]. I aspire to engaging with others in a sincere way, and to a deep level of engagement with others [Goal]. I engage with others in a sincere way, and to a deep level of engagement with others – in a genuine and congruent manner [Belief] [see *Note above].
1r. Self: I value nurturing as a human quality [Value]. I aspire to be a nurturing soul [Goal]. I am a nurturing soul [Belief] [see *Note above].

onion-layers

Year 1 Research Study Part 1b – who I know I am now as a practitioner

2a. Self & Practice: N/A [Value]. N/A [Goal]. I believe the practitioner self is central/core to my practice [Belief].
2b. Self & Practice: I value a phenomenological approach to practice – to experience, to learn and to continually develop knowledge and skills [Value]. I strive to maintain a phenomenological approach to practice – to experience, to learn and to continually develop my knowledge and skills [Goal]. I take a phenomenological approach to practice – to experience, to learn and to continually develop my knowledge and skills [Belief].
2c. Self & Practice: I value an empirical evidentiary approach to practice – sense experience, gaining knowledge by means of my senses, particularly that of observation and experimentation [Value]. In practice, I strive to gain knowledge by means of my senses, particularly that of observation and experimentation [Goal]. I believe I gain knowledge most effectively and efficiently in practice by means of my senses, particularly that of observation and experimentation [Belief].
2d. Self & Practice: In practice I value authenticity, maintaining alignment to my values and beliefs [Value]. I aspire to being authentic in my practice, being true to my values and beliefs, maintaining alignment to my values and beliefs [Goal]. I believe I demonstrate a high degree of authenticity in my practice, maintaining alignment to my values and beliefs [Belief].
2e. Self & Practice: I value a holistic perspective of the practitioner self, with consideration of the many facets and dimension that each practitioner possesses [Belief]. I strive to see a holistic perspective of the practitioner self, looking for the many facets and dimensions that each practitioner possesses [Goal]. I accept a holistic perspective of the practitioner self, revealing the many facets and dimensions that each practitioner possesses [Belief].
2f. Self & Practice: In practice I value self-reliance [Value]. I aspire to being self-reliant in my practice [Goal]. I am self-reliant in my practice, but choose to be, or not to be, as I see appropriate [Belief] [see *Note above].
2g. Self & Practice: In practice, I value inner speech to guide the practitioner self [Value]. In practice, I strive to develop my inner speech to act as a more effective inner guide the practitioner self [Goal]. In practice, I have developed my inner speech to act as a more effective inner guide the practitioner self [Belief].
2h. Self & Practice: In practice, I value the conscious pursuit of the development of practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose [Value]. I consciously strive in the development of my practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose [Goal]. I consciously strive in the development of my practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose. I now possess a clearer view of who I am as a practitioner, and what my purpose is [Belief].
2i. Self & Practice: I value the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in practice [Value]. I strive to develop the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in my practice [Goal]. I have developed the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in my practice [Belief].
2j. Self & Practice: I value an embodied approach to practice: an immersive physical and sensory experience with physical connection to the practice – tools or process [Value]. I strive to exercise an embodied approach to practice: an immersive physical and sensory experience with physical connection to the practice – tools or process [Goal]. I exercise an embodied approach in practice: an immersive physical and sensory experience with physical connection to the practice – tools or process [Belief]. I am a physical being – a tactile being, a kinaesthetic being, a sensual being that chooses to engage in the practice – tools or process [Belief].
2k. Self & Practice: I value a high volume of post-training practice (10,000 hours) in order to develop a professional level of knowledge and skill in that practice [Value]. In any form of new practice I choose to learn, I set the goal on 10,000 hours of post-training practice in order to develop a professional level of knowledge and skill in that practice [Goal]. The forms of practice I have developed a professional level of knowledge and skill in, is the result of having invested 10,000 hours of post-training practice [Belief].
2l. Self & Practice: I value a high standard of practice [Value]. I aspire to execute a high standard of practice within the various forms of practice I engage in [Goal]. I believe I operate at a high standard of practice within the various forms of practice I engage in [Belief].
2m. Self & Practice: Further to 2c above, I value a multi-faceted/multi-dimensional approach to practice [Value]. I aspire to execute a multi-faceted/multi-dimensional approach within the various forms of practice I engage in [Goal]. I execute a multi-faceted/multi-dimensional approach to practice, within the various forms of practice I engage in [Belief].
2n. Self & Practice: I value diversity of orientation in my practice [Value]. I am very end product/goal-orientated with actions; and I also very process-orientated with expression and reflection [Goal]. Being contrast orientated, I have a great opportunity in life. I believe I am target-orientated, effective and efficient in realising goals within the various forms of practice I engage in: I believe I do not waiver from the output focus for that practice. However within my various forms of practice, I believe I immerse my self in the process of practice with my expression and reflection [Belief] [see *Note above].
 2o. Self & Practice: In practice, I value spontaneity (being spontaneous = freedom for DLP) [Value]. In my practice, I aspire to spontaneously – effortlessly, naturally – alter my practice as I see fit/appropriate [Goal]. I operate in a spontaneous manner – effortlessly, naturally – within the various forms of practice I engage in [Belief].
2p. Self & Practice: In practice, I value being prepared [Value]. I aspire to being prepared in all situations of my practice, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I prepare thoroughly for my practice, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others. I believe such preparation is an integral part of the practice process [Belief] [see *Note above].
2q. Self & Practice: In practice, I value appearing to be in a relaxed state [Value]. I aspire to appearing to be in a relaxed state in all situations, enabling the execution of what appears to be an effortless/natural/automatic high level of practice; in turn facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I prepare thoroughly for my practice, prior to practice, in order to be in a relaxed stated at the time of public practice (ie the performance). Being in this state in turn facilitates optimum engagement and maximizes the opportunity of an optimum experience for others. I believe such a relaxed state in public performance is a key element of the practice process [Belief][see *Note above].
2r. Self & Practice: I value practice that provides opportunities for nurturing [Value]. I aspire to practice that provides opportunities to nurture (both my self and others)[Goal]. I engage in practice that provides opportunities to nurture (both my self and others) [Belief] [see *Note above].

onion-layers

Year 1 Research Study Part 1c – who I know I am as a practitioner

3a. Social and Cultural contexts: I value social and cultural diversity [Value]. I strive to live across a very wide and broad range of social and cultural contexts – countries and cultures in my life [Goal]. I embrace a very wide and broad range of of social and cultural contexts – countries and cultures in my life [Belief].
3b. Social and Cultural contexts: I value equal opportunity for all – irrespective of gender, race, sexual preference, impairment [Value]. I strive to provide equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Goal]. I assist people by providing equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Belief].
3c. Social and Cultural contexts: I value opportunity for all for learning and development to navigate their life  – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… (what I refer to as “community education”) [Value].  I strive to assist people to gain an opportunity for learning and development – helping them to navigate their life –  their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Goal].I assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Belief].
3d. Social and Cultural contexts: I value opportunities in contexts that provide opportunities for nurturing [Value]. I aspire to practice in contexts that provides opportunities to nurture (both my self and others) [Goal]. I engage in practice in contexts which provides opportunities to nurture (both my self and others) [Belief].

~DLP Pro Image Fun 5b small.20141020

(DLP 2016b)

Year 1 Research Study Part 1d – who I know I am as a creative practitioner

4a. Creative practice: In my creative practice I value authenticity [Value]. I aspire to being authentic in my creative practice, maintaining alignment to my values and beliefs [Goal]. I believe I demonstrate a high degree of authenticity in my creative practice, maintaining alignment to my values and beliefs [Belief].
 4b. Creative practice: I value the conscious pursuit of the development of self and identity – exploring one’s narrative – in order to align one’s purpose to one’s creative practice [Value]. I consciously strive in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose to one’s creative practice [Goal]. I consciously strive in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose to one’s creative practice. I now possess a clearer view of who I am as a person, and what my purpose is [Belief].
4c. Creative practice: I value diversity of orientation in my creative practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my creative practice [Goal]. Being contrast orientated, there is a great opportunity in my creative practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my creative practice, not wavering from the output focus – the product – for that creative practice. However within my creative practice, I believe I immerse my self in the process of the creative practice with my expression and reflection for creative benefit [Belief].
4d. Creative practice: I value social and cultural diversity of creative practice, music and sonic styles [Value]. I strive to experience and be influenced by a very wide and broad range of diversity of creative practice, music and sonic styles in my life [Goal]. I am open to experience and be influenced by a very wide and broad range of diversity of creative practice, music and sonic styles [Belief].
4e. Creative practice: I value creative practice occurring in a supportive environment or culture [Value]. I strive for my creative practice to occur in a supportive culture and environment in my life [Goal]. I facilitate my creative practice to occur in a supportive culture and environment [Belief].
4f. Creative practice: I value creative practice assisting participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Value]. I strive for creative practice to assist participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Goal]. Creative practice workshops I provide assist participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Belief]. My creative practice workshops assist participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Belief].
4g. Creative practice: I value creative practice workshops that provide opportunities for nurturing [Value]. I aspire to provide creative practice workshops that provide opportunities to nurture (both my self and others) [Goal]. I provide creative practice workshops that provide opportunities to nurture (both my self and others) [Belief]. My creative practice is engaged in a manner that is nurturing (of both my self and others) [Belief].

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Year 1 Research Study Part 1e – who I know I am as a sound-track making practitioner

5a. Composition and Performance of Narrative: I value authenticity in my composition and performance of narrative practice [Value]. I strive to maintain authenticity with my composition and performance of narrative practice, maintaining alignment to my values and beliefs [Goal]. I believe I maintain authenticity with my composition and performance of narrative practice, maintaining alignment to my values and beliefs [Belief].
5b. Composition & Performance of Narrative: I value diversity of orientation in my composition and performance of narrative practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my composition and performance of narrative practice [Goal]. Being contrast orientated, there is a great opportunity in my composition and performance of narrative practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my composition and performance practice, not wavering from the aim and objective focus for that practice. However within that practice, I believe I immerse my self in the process of the composition and performance practice with my expression and reflection for creative benefit. I believe I am in the moment during that practice [Belief].
5c. Composition & Performance of Narrative: I value narrative compositions combining a range of music and sonic textures, appropriate to the music and sonic style, woven together in an original holistic cohesive manner [Value]. I strive to create narrative compositions combining a range of music and sonic textures, appropriate to the music and sonic style, woven together in an original holistic cohesive manner [Goal]. I integrate a range of music and sonic textures into my narrative compositions, appropriate to the music and sonic style, woven together in an original holistic cohesive manner [Belief].
5d. Composition & Performance of Narrative: I value composing and performing instrumentation and/or music and sonic elements, integrating all of the music and sonic textures together into an original holistic cohesive manner [Value]. I strive to compose and perform instrumentation and/or music and sonic elements, integrating all of the music and sonic textures together into an original holistic cohesive manner [Goal]. I compose and perform instrumentation and/or music and sonic elements, in and around other instruments, integrating all of music and sonic textures together into an original holistic cohesive manner [Belief].
5e. Composition & Performance of Narrative: I value composing and performing music and sonic narratives that are nurturing of both my self and others [Value]. I aspire to compose and perform music and sonic narratives that are nurturing of both my self and others [Goal]. I compose and perform music and sonic narratives that are nurturing of both my self and others [Belief].

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Year 2 Research Study Part 2a – who I am discovering/accepting my self to be as a professional practitioner

6a. Self and Professional Practice: In my professional practice I value authenticity [Value]. I aspire to being authentic in my professional practice, being true to my values and beliefs, maintaining alignment to my values and beliefs [Goal]. I believe I live to a high degree of authenticity in my professional practice, maintaining alignment to my values and beliefs [Belief].
6b. Self & Professional Practice: I value the conscious pursuit of the development of professional practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose to the professional practice [Value]. I consciously strive in the development of my professional practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose to the professional practice [Goal]. I consciously strive in the development of my professional practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose to the professional practice. I now possess a clearer view of who I am as a professional practitioner, and what my professional practice purpose is [Belief].
6c. Self and Professional Practice: I value an embodied approach to professional practice: an immersive physical and sensory experience with physical connection to the professional practice – tools or process [Value]. I strive to exercise an embodied approach to professional practice: an immersive physical and sensory experience with physical connection to the professional practice – tools or process [Goal]. I exercise an embodied approach in professional practice: an immersive physical and sensory experience with physical connection to the professional practice – tools or process [Belief]. I am a physical being – a tactile being, a kinaesthetic being, a sensual being that chooses to engage in the professional practice – tools or process [Belief].
6d. Self & Professional Practice: I value diversity of orientation in my professional practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my professional practice [Goal]. Being contrast orientated, there is a great opportunity in professional practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my professional practice, not wavering from the aim and objective focus for that practice. However within that professional practice, I believe I believe I am in the moment. I immerse my self in the process of that practice with my expression and reflection, for great benefit to both my self and my practice. [Belief].
6e. Self & Professional Practice: In my life I value reflection – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my practice [Value]. I aspire to being reflective – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Goal]. I am able to be reflective – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Belief].
6f. Self & Professional Practice: In my life I value ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my professional practice [Value]. I aspire to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Goal]. I am committed to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Belief].
6g. Self & Professional Practice: I value varied motives of professional practice [Value]. I practice professionally due to many varied motivations [Goal]. I practice professionally as a result of:
  • Discovery (to use creative practice as a medium for exploring, attempting to do something which you haven’t done previously)
  • Technically (to technically develop one’s skills)
  • Social (to connect to others)
  • Affectively (to express or connect to emotion)
  • Aesthetically (for expression or engagement in something artistic or of beauty)
  • Creatively (for action, just to do)
  • Physical (for physical expression, for exercise]
  • Commercial (for income generation purposes)
  • Educational (to demonstrate specific practice to my students, live or in preparation)
  • Cathartic (for self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self)
  • Performance (to maximise my performance standard, and what others get to see of me/ practice)
  • Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate this motive in my education and learning practice; nurturing of others (eg when I am performing either as an artist, or as a producer) and nurturing of my self (when I am performing to/for my self) in my creative practice; and nurturing of my self (eg when I am reflecting) in my research practice [Belief].
6h. Self & Professional Practice: I value nurturing of my self and others – across my areas of my professional practice (creative – music, education, research, management, or governance practice) [Value]. I aspire to be a nurturing being – of my self and others – across my areas of my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Goal]. I am a nurturing being – of my self and others – across my areas of my professional practice (creative – music, education, research, management, or governance practice)  – a social carer, an encourager, a coach, a mentor, an educator, a friend…. as appropriate [Belief].

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Year 2 Research Study Part 2b – who I am discovering/accepting my self to be as a creative practitioner

7a. Self & Creative Practice: As a contemporary creative practitioner, I value practice across all of the eight (8) stages of creative practice: everyday practice, creating the narrative, composing the narrative, performing the narrative, pre-production planning, producing the music and sonic narrative, post-production polishing, and distributing the narrative [Value]. As a contemporary creative practitioner, I strive to practice across all of the eight (8) stages of creative practice: everyday practice, creating the narrative, composing the narrative, performing the narrative, pre-production planning, producing the music and sonic narrative, post-production polishing, and distributing the narrative [Goal]. As a contemporary creative practitioner, I practice across all of the eight (8) stages of creative practice: everyday practice, creating the narrative, composing the narrative, performing the narrative, pre-production planning, producing the music and sonic narrative, post-production polishing, and distributing the narrative [Belief].
7b. Self & Creative Practice: I value creative practice – the composing and performing of music and sonic narratives – motivated by a diversity of intentions – the majority of which are non-commercial [Value]. I strive to engage in creative practice – the composing and performing of music and sonic narratives – motivated by a diversity of intentions in my life – the majority of which are non-commercial [Goal]. I engage in creative practice – the composing and performing of music and sonic narratives – motivated by a diversity of intentions – the majority of which are non-commercial such as:
  • Discovery (to use creative practice as a medium for exploring, attempting to do something which you haven’t done previously)
  • Technically (to use creative practice as a medium to practice one’s craft, and technically develop one’s craft skills)
  • Social (to use creative practice as a medium for social interaction purposes, to connect to others [communicative])
  • Affectively (to use creative practice as a medium to express or connect to emotion)
  • Aesthetically (to use creative practice as a medium for expression or engagement in something artistic or of beauty)
  • Creatively (to use creative practice as a medium for action, just to do [expressivity])
  • Physical (to use creative practice as a medium for physical expression, for exercise]
  • Commercial (to use creative practice as a medium for income generation purposes)
  • Educational (to demonstrate specific creative practice to my students, live or in preparation)
  • Cathartic (self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self)
  • Performance (where my primary motive is to perform, and therefore all creation and creative development is built upon wanting to maximise my performance standard, and what others get to see of me/my art/my creative practice
  • Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate this motive in my education & learning practice; nurturing of others (eg when I am performing either as an artist, or as a producer) and nurturing of my self (when I am performing to/for my self) in my creative practice; and nurturing of my self (eg when I am reflecting) in my research practice [Belief].
7c. Self & Creative Practice: I value music and sonic narratives primarily for their affective, expressive and communicative qualities [Value]. I strive to perform and compose music and sonic narrative primarily for their affective, expressive and communicative qualities [Goal]. I perform and compose music and sonic narrative primarily for their affective, expressive and communicative qualities [Belief].
7d. Self & Creative Practice: I value embodied creative practice, connecting affectively to the linguistic, music and sonic narratives irrespective of the technology that is used to create such cultural productions [Value]. I strive to exercise embodied creative practice – to connect affectively to the linguistic, music and sonic narratives irrespective of the technology that is used to create such cultural productions [Goal]. I more effectively and efficiently exercise embodied creative practice. I understand how I connect affectively to my linguistic music and sonic narratives, irrespective of the technology that is used to create such cultural productions [Belief]. I understand that for me to exercise embodied creative practice, I necessarily engage in deep reflective practice: in-situate, re-experiencing the experience – generated creative writing. In doing this, I realize a core of authenticity – of affective connectedness to the linguistic, music and sonic narratives, irrespective of the technology that I use to create such cultural productions [Belief].
7e. Self & Creative Practice: I value creating music and sonic narratives that I have an affective connectedness to. I value these narratives more, when I draw on deep reflective practice – in-situate, re-experiencing the experience – in order to generate an associative memory-based narrative whilst I am in the moment of the creative process, to maximize the affective connection of the product outcome/artifact. [Value]. I strive to create music and sonic narratives that I have an affective connectedness to. I aim to do this by drawing on deep reflective practice – in-situate, re-experiencing the experience – in order to generate an associative memory-based narrative whilst I am in the moment of the creative process, to maximize the affective connection of the product outcome/artifact [Goal]. I create music and sonic narratives that I have an affective connectedness to. I do this by drawing on deep reflective practice – in-situate, re-experiencing the experience – in order to generate an associative memory-based narrative whilst I am in the moment of the creative process, to maximize the affective connection of the product outcome/artifact [Belief].
7f. Self & Creative Practice: I value commencing the creative process using one of the forms of: narrative, prose or song lyrics [Value]. I intuitively commence creative practice using one of the forms of: narrative, prose or song lyrics [Goal]. I intuitively commence the creative process by using one of the forms of: narrative, prose or song lyrics [Belief].
7g. Self & Creative Practice: I value creative practice of a range of cultural origins, based on a diversity of interest, observation and experience [Value]. I strive for my creative practice to extend across of a range of cultural origins, based on a diversity of interest, observation and experience [Goal]. My creative practice extends across a range of cultural origins, based on a diversity of interest, observation and experience [Belief].
7h. Self & Creative Practice: I value the practice of listening to music and sonic narratives on any of the three levels: holistic, associative, or critical and analytical listening [Value]. I strive to practice listening to music and sonic narratives on any of the three levels: holistic, associative, and critical and analytical listening [Goal]. I practice listening to music and sonic narratives on all of the three levels: holistic, associative, and critical and analytical listening [Belief].

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Year 2 Research Study Part 2c – who I am discovering/accepting myself to be as a creative practitioner

8a. Self & Creative Practice: I value creative practice of music and sonic narratives, which extends across diverse technologies, to influence the cultural production outcome [Value]. I strive for my creative practice of music and sonic narratives to extend across diverse technologies, to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across diverse technologies, to influence the cultural production outcome [Belief].
8b. Self & Creative Practice: Intuitively, I value physical music and sonic narrative technologies that emit vibrations and resonances; of a style and size I can physically embrace and/or engage in [Value]. I intuitively seek a range of physical music and sonic narrative technologies that emit vibrations and resonances; of a style and size I can physically embrace and/or engage in. These technologies are to become extensions of my self [Goal]. I intuitively seek and engage in/play a range of physical music and sonic narrative technologies that emit vibrations and resonances; of a style and size I can physically embrace and/or engage in. These generally become extensions of my self [Belief].
8c. Self & Creative practice: I now also value physical music and sonic narrative technologies, which don’t necessarily emit vibrations and resonances; of a style and size I may not necessarily be able to physically embrace and/or engage in [Value]. I now seek a range of physical music and sonic narrative technologies, which don’t necessarily emit vibrations and resonances; of a style and size I may not necessarily be able to physically embrace and/or engage in. These technologies are to become extensions of my self [Goal]. I now seek and engage in/play a range of physical music and sonic narrative technologies, which don’t necessarily emit vibrations and resonances; of a style and size I can physically embrace and/or engage in. These are now becoming extensions of my self [Belief].
8d. Self & Creative Practice: I value creative practice of music and sonic narratives which extend across diverse sites, where one site’s practice influences and/or informs other forms of practice in other sites; to influence the cultural production outcome [Value].I strive for my creative practice of music and sonic narratives to extend across diverse sites, where one site’s practice influences and/or informs other forms of practice in other sites; to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across diverse sites, where one site’s practice influences and/or informs other forms of practice in other sites such as studio performance; which in turn can influence and inform other forms of practice such as live performance; to influence the cultural production outcome [Belief].
8e. Self & Creative Practice: I value creative practice of music and sonic narratives, which extend across a range of holistic work practice, including composition of songs and soundtracks, to influence the cultural production outcome [Value]. I strive for my creative practice of music and sonic narratives to extend across a range of holistic work practice, including composition of songs and soundtracks, to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across a range of holistic work practice, including composition of songs and soundtracks, to influence the cultural production outcome [Belief].
8f. Self & Creative Practice: I value creative practice of music and sonic narratives, which extend across diverse (micro) workflows, to influence the cultural production outcome [Value]. I strive for my creative practice of music and sonic narratives to extend across diverse (micro) workflows, to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across diverse (micro) workflows, to influence the cultural production outcome [Belief]. 

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Year 2 Research Study Part 2d – who I am discovering/accepting my self to be as a sound-track making practitioner

9a. Technology used for the Composition & Performance of Narrative: I value a diversity of technology – analogue, digital or digital virtual devices – in the practice of – creation and layering of – music and sonic textures in the composition and performance of narrative [Value]. I strive to engage in my creative practice a diversity of technology – analogue, digital or digital virtual devices – in the practice of – creation and layering of – music and sonic textures in the composition and performance of narrative [Goal]. I now – with confidence – engage in a diversity of technology – analogue, digital or digital virtual devices – in the practice of – creation and layering of – music and sonic textures in the composition and performance of narrative. I have developed a diversity of technology that I access and engage in, in the creation and layering of music and sonic textures in my composition and performance of narrative [Belief].
9b. Technology used for the Composition & Performance of Narrative: I value the incorporation of acoustic style instruments and their specific timbres; and the manipulation of at-the-time generated or pre-recorded sound sources for creative practice purposes; in cultural productions [Value]. I strive to incorporate acoustic style instruments and their specific timbres; and the manipulation of at-the-time generated or pre-recorded sound sources for creative practice purposes, in cultural productions  [Goal]. I incorporate acoustic style instruments and their specific timbres; and the manipulation of at-the-time generated or pre-recorded sound sources for creative practice purposes, in cultural productions  [Belief]. I have developed my live/studio technology (rig) to facilitate the manipulation and layering of music and sonic textures, and duplicate these irrespective of location – in both live and studio settings for cultural productions  [Belief].
9c. Technology used for the Composition & Performance of Narrative: I value the manipulation and layering of music and sonic textures to be duplicable equally in live and studio settings. I value a performance rig that facilitates sourcing these music and sonic textures irrespective of site (stage or studio) at any moment in time [Value]. I strive to manipulate and layer music and sonic textures that are duplicable equally in live and studio settings. I strive for my performance rig to facilitate sourcing these music and sonic textures irrespective of site (stage or studio) at any moment in time [Goal]. I manipulate and layer music and sonic textures that are duplicable equally in live and studio settings. My performance rig facilitates sourcing these music and sonic textures irrespective of site (stage or studio) at any moment in time [Belief].
9d. Technology used for the Composition & Performance of Narrative: I value a diversity of technology used for the composition & performance of narrative, that influences the cultural production outcome [Value]. I strive to use a diversity of technology in the composition & performance of narrative process, to influence the cultural production outcome [Goal]. I use a diversity of technology in the composition & performance of narrative process, to influence the cultural production outcome [Belief].

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Year 2 Research Study Part 2e – who I am discovering/accepting my self to be as a creative practitioner

10a. Creative Practitioner: I value creative practitioners who aspire to create cultural production as a personal narrative, conscious it is technology of their self [Value]. I intuitively strive to be a creative practitioner who aspires to create cultural production as a personal narrative, conscious it is technology of their self [Goal]. I believe I am a creative practitioner who aspires to create cultural production as a personal narrative, conscious it is technology of my self [Belief].
10b. Creative Practitioner: I value holistic authentic creative practitioners – an identity-driven, value-driven, narrative-based, embodied practitioner [Value]. I aspire to being a holistic authentic creative practitioner – an identity-driven, value-driven, narrative-based, embodied practitioner [Goal]. I believe I am now a holistic authentic creative practitioner – an identity-driven, value-driven, narrative-based, embodied practitioner [Belief].
10c. Creative practice: I value the conscious pursuit of the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner [Value]. I consciously strive in the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner [Goal]. I consciously strive in the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner. I now possess a clearer view of who I am as a person, and what my purpose is [Belief].
10d. Creative Practitioner: I value creative practice with origins in artistic expression, over creative practice solely reliant on craft expression. I value drawing on all forms of life practice – not necessarily only creative practice – in order to in order to compose or perform narratives [Value]. I strive to practice music for artistic expression, over creative practice solely for craft expression [Goal]. I strive to be an innovator, an artist, an experimental artist, a non-musician composer, a technologist producer, drawing on any technological device – analogue, digital or digital virtual devices – or otherwise – natural medium – or site – studio, outdoors or nature – in order to compose or perform narratives [Goal]. I am now practicing music for artistic expression, rather that practicing music solely for craft expression [Belief]. I am now practicing to be an innovator, an artist, an experimental artist, a non-musician composer, a technologist producer, drawing on any technological device – analogue, digital or digital virtual devices – or otherwise – natural medium – or site – studio, outdoors or nature – in order to compose or perform narratives [Belief].
10e. Creative Practitioner: I value diversity of orientation as a creative practitioner [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) as a creative practitioner [Goal]. Being contrast orientated, I believe there is a great opportunity as a creative practitioner. I believe my target-orientation allows me to effectively and efficiently realise goals, not wavering from the aim and objective focus of that practice. However, I believe I am in the moment as a creative practitioner, fully immersed in the process of my creative practice [Belief].
10f. Creative Practitioner:  I value a described music praxis – a framework that outlines the interdependent elements for consideration during the stages of one’s creative practice [Value]. I strive to describe my music praxis – a framework that articulates the interdependent elements for consideration during the stages of one’s creative practice [Goal]. I have developed a considered music praxis – a framework that outlines the elements for consideration during the stages of one’s creative practice. These primary elements of my Creative practice Praxis v9k 20170520 are: self, listening/hearing, decision to act, reflection/reflective practice, reflexive practice, motive, theme, song mood, decision to commence, music production approach, compositional approach, agreed reference track, music and sonic style, simple versus complex textures, technology, site, holistic work practice, micro workflow, aesthetic choices, time opportunity, and social network engagement [Belief].
10g. Creative Practitioner: I intuitively value self-reliant DIY creative practitioners who aspire to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k (see below) [Value]. I intuitively strive to be a self-reliant DIY creative practitioner who aspires to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k (see below) [Goal]. I am a self-reliant DIY creative practitioner who aspires to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k (see below) [Belief].

DLP DCI Praxis v9i.20170420.P1

Figure I – Project 1 Research Study Developed Praxis v9k (Page 2017d)

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Year 2 Research Study Part 3 – who I have discovered and accepted my self to be as a practitioner, as a result of this Research Study, at this point in time 

11a Practitioner: I value authenticity – an authentic affective connection across all stages of practice – process and technology – across all practice [Value]. I strive to maintain being an Authentic practitioner  = maintaining an authentic affective connection across all stages of practice – process and technology – across all practice [Goal] As an authentic practitioner (holistic, embodied, value-driven, narrative-based), I engage in life to consciously, deliberately and systematically, stream my self to inform (all) practice, and (all) practice to inform my self [Belief]
(DLP 2016c)

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Significant Differences between my Project 1 end-Year 2 Charter of Values and Beliefs v2; and my early-Year 3 Charter of Values and Beliefs v3

As mentioned in my opening remarks: the quantifiable number of entries demonstrates the volume of change I made from v2 to v3 of the Charter of Values and Beliefs in the course of four to six (4 – 6) months of living my very busy life across full-time employment, research study commitments, creative practice, professional consulting practice and family responsibilities (especially relative to the previous ten to eleven month period).  However, it is only when you engage in each and every actual entry, that you can begin to understand the significance of the development from v2 to v3 of the Charter of Values and Beliefs. It is in the quality – the depth and breadth – of these new (green) entries, and the revised (yellow) entries.
A notable development to the Year 2 (2016) Charter of Values and Beliefs v2 were in the inclusions of my self-knowledge within an academic environment as I had experienced since the beginning of 2015. I felt these were key to include to broaden the scope of how I saw my self:
2b. Self & Practice:  I value a phenomenological approach to practice – to experience, to learn and to continually develop knowledge and skills;
2c. Self & Practice:  I value an empirical evidentiary approach to practice – sense experience, gaining knowledge by means of my senses, particularly that of observation and experimentation.
Other notable developments that I felt key to include to broaden the scope of how I saw my self and my practice, were the inclusions from with in my holistic approach to practice, and my developing praxis:
2a.Self & Practice: I believe the practitioner self is central/core to my practice; 
2d. Self & Practice: In practice I value authenticity, maintaining alignment to my values and beliefs;
2h. Self & Practice: In practice, I value the conscious pursuit of the development of practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose;
2i. Self & Practice: I value the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in practice;
2e. Self & Practice: I value a holistic perspective of the practitioner self, with consideration of the many facets and dimension that each practitioner possesses;
2j. Self & Practice:  I value an embodied approach to practice: an immersive physical and sensory experience with physical connection to the practice – tools or process;
2g. Self & Practice:  In practice, I value inner speech to guide the practitioner self
I also felt it was important to reiterate my approach to practice:
2k. Self & Practice: I value a high volume of post-training practice (10,000 hours) in order to develop a professional level of knowledge and skill in that practice
These were then developed across all forms of practice and specific stages of practice, broadening finally as expressions of the creative practitioner:
10a. Creative Practitioner: I value creative practitioners who aspire to create cultural production as a personal narrative, conscious it is technology of their self;
10b. Creative Practitioner: I value holistic authentic creative practitioners – an identity-driven, value-driven, narrative-based, embodied practitioner;
10c. Creative practice: I value the conscious pursuit of the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner;
10d. Creative Practitioner: I value creative practice with origins in artistic expression, over creative practice solely reliant on craft expression. I value drawing on all forms of life practice – not necessarily only creative practice – in order to in order to compose or perform narratives;
10f. Creative Practitioner:  I value a described creative praxis – a framework that outlines the interdependent elements for consideration during the stages of one’s creative practice;
10g. Creative Practitioner: I intuitively value self-reliant DIY creative practitioners who aspire to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k.
Over the course of this period (from v2 to v3), I broadened the term I refer to my practitioner self from music practitioner to a more holistic creative practitioner view. However, it was the next step that was to be the most profound. In living my very busy life, I noticed I was no longer just restricting my observations of my creative practice, but I was now observing how my self was engaging in my multiple forms of practice. It was as though the many forms of practice I had previously treated as quite separate entities, suddenly were being seen through a lens as being one of the same thing – a broad generic form of practice: a multi-disciplinary practice. I therefore revisit my Charter of Values and Beliefs v3, and added;

Year 2 Research Study Part 3 – who I have discovered and accepted my self to be as a practitioner, as a result of this Research Study, at this point in time 

11a Practitioner: I value authenticity – an authentic affective connection across all stages of practice – process and technology – across all practice [Value]. I strive to maintain being an Authentic practitioner  = maintaining an authentic affective connection across all stages of practice – process and technology – across all practice [Goal] As an authentic practitioner (holistic, embodied, value-driven, narrative-based), I engage in life to consciously, deliberately and systematically, stream my self to inform (all) practice, and (all) practice to inform my self [Belief]
From January 2017, I now see my self and my practice are very much a multi-disciplinary approach.  I now consider this Charter of Values and Beliefs v3 to be exponentially more aligned with my self and my practitioner self. I accept I am a practitioner across many industries, fields, disciplines and sites. All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site. I believe my Charter of Values and Beliefs v3 reveals my multi-facetted, multi-dimensional, multi-disciplinary practitioner self; my authentic self.
ohm

Summary

As I indicated in my last blog Charter of Values and Beliefs v2  (Page 2017b)
As a person new to formal academic research studies,  I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time (Page 2017b).
In an attempt to anchor my self to my creative practice, I developed my Charter of Values and Beliefs to maintain a valid contemporary values statement – a Charter of Values and Belief for both my self and my practice at any point in time. In doing this, I have been able to continue to observe a significant number of distinctions and insight into my multiple forms of practice and my self, and apply these reflexively to my self and practice.
full-2
This blog series is planned to continue next month with Research Practitioner Part 19. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
DLP 2017a image courtesy of Research Practitioner Part 16   Accessed 28th May, 2017
DLP 2017b image courtesy of Research Practitioner Part 20 Accessed 29th May, 2017
DLP 2017c image courtesy of Data for DLPs Project 1_Music and Sonic Collage.20170529.v39  Accessed 29th May, 2017
DLP 2017d image (Figure I) courtesy of Project 1 Research Study Developed Praxis v9k  Accessed 29th May, 2017
DLP 2016a image courtesy of David L Page. Accessed 31st December, 2016
DLP 2016b image courtesy of David L Page. Accessed 31st December, 2016
DLP 2016c image courtesy of David L Page. Accessed 31st December, 2016
Ohm image courtesy of: Ohm  Accessed 28th May, 2016
Onion image courtesy of: Onion Layers Accessed 28th March, 2015
Page, David 2017a Research Practitioner Part 16 Accessed 20th March 2017
Page, David 2017b Research Practitioner Part 14 Accessed 20th March 2017
Pulsating image courtesy of: Image Accessed 15th January, 2016
Research 2016 image courtesy of: Research Accessed 28th January 2016
Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth  Accessed 28th March, 2015
– ©David L Page 20/03/2017
– updated @David L Page 29/05/2017
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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Doctoral Pilot Study – Part 13a

Doctorate of Creative Industries Project 1

research

(Research 2017)

Precis

Continuing on from my previous blogs in this series, I find my self now in a process of reflective practice. In much the same way as described in my education & learning practice session blog (see Layer 10: Reflective practice following the learning practice), I am away from the site of that last reflective practice, with some considerable time – eleven (11) days -having lapsed post-my December reflective practice session. As a not uncommon occurrence of this second stage of reflective practice, I am experiencing a separation of the expected automated response that could be activated by reflecting on the practice of December’s reflective practice, that I find my self now engaging in. The amount of time expired between that actual practice session and this reflective practice session has allowed my mind to turn over the distinctions I gained in redeveloping my Charter of Values and Beliefs. I am finding that I have distilled out the less significant events, and now focussing on the more prominent and significant aspects of that development. The primary entry I find my self now focussing on is:
2d. Self & Practice: a complex multi-dimensional approach to practice 

Research Study Project 1 music practice and my music practitioner self

As I continue with my music practice as part of my research study, I have observed that quite often I am distracted by my other forms of practice – either my research practice (researching, investigating, analysing or reflecting) or my education & learning practice (recalling processes I undertake in preparing for, and delivering my education & learning practice sessions – both of creative media learners, and of aspiring educator peers). I often find myself being drawn into these other forms of practice quite unexpectedly to my original intended focus of practice as scheduled.
I have observed these distractions – unexpected mindful wanderings – usually commences on-site and in practice. It often starts with my noting my thoughts and/or my feelings during practice. This reflection then often progresses into further reflection, where I find myself drilling down to illuminate possible reasons for such a distraction at that particular time or stage of practice. In doing so, the act of reflection effectively causes the practice to cease and therefore becomes on-site and on practice. Any ongoing engagement in this process generally has me wandering away from the site to continue reflecting on my practice. Whilst I outlined this process in my July 2015 Music Practitioner Part 3 blog, I expressed my concern of the disruption this subject/observer phenomena could have on the creative practice flow in my Research Practitioner Part 5 blog in the early stages of my Project 1 study. However, on the back of recently completing the update of my Charter of Values and Beliefs – a holistic guide of my self, life with application across the varied  forms of my practice, I am now reviewing my perspective. Do I continue to see a disruption to one form of practice, for reflection or performance of another form of practice, as a disruption.  The word disruption has an inbuilt negative connotation within my mind, having one’s focus or attention forced away from one form of practice, to another form of practice. But I am now less sure of my view of this disruption being a negative process, or actually part of a more holistic integrated process. A necessary attribute of a more holistic self and multi-dimensional practitioner self. A multi-facetted practitioner self that incorporates multiple aspects of our practitioner selves.

The multi-facetted/multi-dimensional practitioner

Over the course of the past eleven (11) days, despite being on leave from my current primary income source of education & learning practice, with a very strict schedule outlined to develop my research study Project 1 – specifically the music practice creative component of a composition of my associative memories – I have observed that I have spent a significant amount of time reflecting on my last trimester of 2016 education & learning practice. Whilst this is in itself not a bad thing, I have found myself continually perplexed as to why it continues to happen.
I find central to this reflection is the self. I have noted that whenever I commence consideration of any form of practice I engage in, I find that the reflection process – planned or unplanned – progresses consistently back to the self. Having engaged in this auto-ethnographic study for just over a twelve month process to date, I have found that this occurrence is now predictable – if not predictably unpredictable. Perhaps not surprising, my values regarding professional practice and self include:
6a.Self & Professional Practice: I value diversity of orientation in my professional practice [Value].
6b. Self & Professional Practice: In my life I value reflection – regular conscious interrogative introspection in order to consider, critically analyse and appraise my self and my practice [Value].
6c. Self & Professional Practice: In my life I value ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice [Value].
6d. Self & Professional Practice: I value varied motives of practice such as:
    • Discovery (to use music practice as a medium for exploring, attempting to do something which you haven’t done previously);
    • Technically (to technically develop one’s skills);
    • Social (to connect to others);
    • Affectively (to express or connect to emotion);
    • Aesthetically (for expression or engagement in something artistic or of beauty);
    • Creatively (for action, just to do);
    • Physical (for physical expression, for exercise];
    • Commercial (for income generation purposes);
    • Educational (to demonstrate specific practice to my students, live or in preparation);
    • Cathartic (for self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self);
    • Performance (to maximise my performance standard, and what others get to see of me/ practice);
    • Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate in my education & learning practice; nurturing of both others (eg when I am ‘performing’ either a} and myself in my creative practice; and nurturing of myself in my research practice).
6e. Self & Professional Practice: In my life I value nurturing of my self and others – across my areas of my practice (family, music, education, research, practice) as appropriate [Value].

What I have found as a by-product of my twelve (12) month research study Project 1

I engage passionately in all forms of my multi-faceted practice, consisting of creative practice, research practice, or education & learning practice. After much observation, I now accept that the self informs my multi-faceted practice of creative practice, research practice, or education & learning practice – conceptually and literally. My multi-faceted practice of creative practice, research practice, or education & learning practice in turn informs/contributes to the self, even if that contribution is only with increased clarity around that particular practice, which in turn increases confidence within the self. I have observed within the self, that this increase in confidence in turn informs and/or shapes my practice – irrespective of what practice I am about to engage in – my creative practice, my research practice, or my education & learning practice. Over the course of the twelve (12) month research study Project 1, I have observed this cycle of interdependency and commonality between the self – my self – and the various incarnations of my practice – creative practice, research practice, or education & learning practice.
DLPs Multi-faceted Practitioner.20170212.P4
Figure I – Project 1 Research Study Developed Approach (Page 2017)

Core principles of the multi-facetted/multi-dimensional practitioner

  1. I devote my time to all forms of practice, irrespective of what practice that is;
  2. My weekly schedule outlines what I need to realise;
  3. My self guides me to what practice I need to do at that moment in time;
  4. My self informs all forms of my practice;
  5. All of my multiple forms of practice inform my self;
  6. This situation aligns to my Charter of Values – freedom

~DLP Pro Image 1.20141020

(DLP 2016)
7. I apply this approach to all forms of practice in my life:
    • being spontaneous
    • being flexible
    • being proactive
    • my self guides me to what I need to do, when I need to reflect, to research, to create, to practice, whatever I need to learn, what ever I need to become, what ever I need to realise……
8. I apply this approach to all forms of practice in my life, as evidenced by the past twelve (12) months whilst undertaking this research study, Project 1.
9. Whilst I am interested in all of my forms of practice, I am particularly focussed on observing how this cycle of interdependence can bring benefit to the central theme of this research study, my music practice. I therefore, by definition practice reflective practice across all forms of my practice.
10. In order to develop all forms of my practice, I therefore necessarily engage in reflexive practice across all forms of my varied practice. My belief is: since all forms of practice inform my self, which in turn can inform all forms of my practice – by developing any aspect of either my self, or any of my forms of practice, I am potentially, likely, to develop any and all aspects of my self and/or my practice. As Deming refers to it – constant, and never ending change.
The Art of self-reflection
(Self Reflection 2016)

Summary

As a person new to formal academic research studies,  I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time.  Therefore in order to try to anchor myself, I continue to develop my Charter of Values and Beliefs to maintain a valid contemporary values statement – a charter of values for both myself and my music practice at this time. In doing this, I am able to continue to gain new levels of understanding of my self and my practice, and start to apply them reflexively to my self and practice.
Engaging in this research study has allowed me to continue to develop my self, increase my self confidence, and develop clarity regarding my practice. It is my intention – through reflective and reflexive practice – to increase my confidence with this task at hand as a practitioner with my Research Study Project 1. In short, following such practice process has allowed me to become a more holistic and balanced practitioner; or as I refer to it, an expanded practitioner (see figure I above).

Next Step

I realise that as my Research Study Project continues and I gain more insight and greater clarity about my self and my practice, this document will require even more development. It remains a dynamic document that will continue to evolve, in line with my reflections and insights of my self interests, and my practitioner self interests.
This blog series is planned to continue next month with Research Practitioner Part 17. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
DLP 2016 image courtesy of David L Page. Accessed 28th November, 2016
Page, David 2016 Research Practitioner Part 14 Accessed 28th November, 2016.
Page, David 2017 Project 1 Research Study Developed Approach Created 11th January, 2017
Research 2017 image courtesy of: Research Accessed 28th January, 2016
Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth  Accessed 18th March, 2016.
Walton, Mary. 1988. Deming management method. London: Penguin.
– ©David L Page 11/01/2017
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.

Memory – Introduction

QUT Industries logo

Context

The series of memory blogs that follow this Introductory blog are part of David L Page’s creative process – reflecting on selected significant events in the early stages of his life, and associating sonic and musical textures that best represent his memory of those significant events. The collection of associative memories will then be formed into a composition – The Dark Years: A Boy Who Was Beaten – which David L Page will produce as a fifteen (15) minute soundtrack of the first stage of his life. This cultural artefact is to make up one part of his Doctoral Project 1 submission. 

Doctoral Research Study Abstract

The aim of this Doctor of Creative Industries Research Project is to investigate both my DIY music practice and my self as a practitioner during the process of creating and producing a cultural artefact (EP).  My research study is designed to be a mixed-method qualitative study: a practice-based, ethnographic study that is to include a first-person narrative of my personal journey, critical reflection and reflexive practice, highlighting the co-constituted nature of my music practice. As an auto-ethnographic study, I designed the project for me to be performing the dual primary roles of being both the practitioner as subject, and the researcher. Such a multi-tiered examination represents a significant departure from current discussion of music practice, developing praxis of contemporary music practice. In this Project 1 research study exegesis submission I narrate the process to date, highlighting observation around my practitioner self, and my music practice and the emergent distinctions integrated into my developing music praxis.

Blog Posts as part of the Reflective Practice journaling process

Welcome to David L Page’s recollection of his story. 
These blogs are David’s attempt to share his recollection of the most significant events of the early stages of his life, as best as he can – events that David believes have shaped the development of his self, or the development of his musical self. 
The deep reflective practice process David engaged in as part of his creative practice, saw him over some time, situating himself back in time, delving deeper and deeper into the place and the event. Of course, as much as he could possibly do decades after an event, when so much distance has occurred in terms of time and place – David’s aim was to recall as much of the kinaesthetic, the auditory, the visual, the olfactory, or even the gustatory sensations of the particular time and place – of that particular significant event. This is not entirely a new experience for David, merely describing the process he has always intuitively put himself through in his creative practice endeavours, particularly in his music practice – creation, performance, or production. The difference in this research study is however, David had to learn how to more consciously focus in on the selected suite of significant events – at a scheduled time – to more deliberately situate him self back in time, whilst recording the data of each of his in-situation experiences.  
You will notice that the various blog posts – more often than not – David has included associated visuals or images, to accompany  the written text, along with the attached associative sonic and musical event. David’s intention was to be able to share his in-situation experience with his audience as much as he could.  David trust’s these blogs will appeal to either the kinaesthetic, the auditory, or the visual senses of the audience. With more advanced technology, or perhaps an alternative medium, David would like to – in the not too distant future – also share his in-situation olfactory and  gustatory sensation experience with his audience. 

David L Page’s Reflective Practice process

David requested for it to be noted: the output of each reflection of a significant event arrived as a result of a range of catalysts. David found his deep reflective re-expereinces occurred as a result of a range of catalysts used stimulate memory recall. These included: a calendar date; a visual image in a photo album for example, a book – quote, passage, or once just the cover – , a magazine – with handwritten notes in the borders, the internet – pictures or articles, or his vast stock of past writings – streams, prose in working, lyrics in working.  On a few occasions the catalyst was something David saw in life that reminded him of a time or place; at other times a blurred visual image or colour that reminded him of a past time, place, or event; at other times, a sonic texture he heard in his head situated him back in time; or by a sound he heard as he conducted himself in his every day life.  At other times, an old song or piece of music, a musical phrase or motif that triggered a memory – something in someone else’s composition, on occasion something he played on an instrument ; at other times, it was a smell – weather, forest, water, toilet freshener, food cooking; at other times, it was a taste – some deliberate, others by accident; and at other times, it was a feeling he had, and recalled a past time, place or event. On many occasions, it was while he was working in another form of practice, something was said or happened that triggered a memory. David noted these down on a phone message or in iNotes, to return to explore them to a greater depth when he had the time to reflect, and more deeply drill down into the particular event.
However, what ever the catalyst,  it was unusual for David not to have reverted to the written word at some point in this deep reflective process.  At the base of all of David’s practice, lies writing in some style, form, or medium. More often than not in practice, David engaged in streaming his consciousness onto the page – physical or virtual.   This streaming could have been just ramblings from his mind, not quite sure yet of what he wanted to say, but trusting he had to get it out, and down onto the page for some greater future benefit. All writings after all,  were to make up the wide range of data to be collected in this research study Project 1. Therefore, David made a special effort not to judge the merit or worth of that data at the time – in the moment of performance of his practice, at any particular time. He gathered it all. Often, emotions accompanied these streamings, deepening the in-situation experience. Sometimes these emotions were easily tapped; but most often David had to draw his self in over many hours, days, weeks or months, in order to arrive at what he could finally accept was the essence of that particular significant event. More often, possibly than David would like to admit, tears flowed as his in-stuation experience intensified, reassuring his self of the value and merit of this significant event and the particular in-situation experience, at that time.  Sometimes a narrative flowed out of this streaming in the form of a tale; at other times, as prose; at other times, as song-type lyrics; and at other times, distinctions regarding his self, or any one of the forms of his practice – be it creative, research – reflective and reflective, or education and learning. [for more information about a multi-faceted/multi-dimensional approach to practice, see  Research Practitioner Part 16   blog].
In terms of this Research Study Project – and most particularly – this series of deep reflective memory blogs – he observed that there was no particular order of the stimulations. On some occasions  David commenced in the digital audio workstation (DAW), composing from whatever memories he held of the significant event at the time – associating sonic or musical textures that he felt best represented those occasions, and assisted to return him to the in-stutation experience. At other times, David began in an excel chart, reflecting on the significant event, and allowing thoughts, feelings, images and aural events to return him to the in-stutation experience. On other occasions, David used the writing process to return him to the in-stutation experience. 
However, irrespective of what practice or what medium David commenced the deep reflective process, David recycled through most of these processes and mediums – usually multiple times – in no particular order. With each cycle, David deepened the level and intensity of experience, in order to arrive at a deep reflective in-stutation experience,  to gather the range of data for this research study Project 1. You will therefore observe in the following sixteen (16) blogs, a variety of layouts, formats, writing styles, graphics or images; along with accompanying links to an equally wide variety of associative sonic and musical textured events.
David’s hopes, as you join him in his journey back to the first stage of his life,  you will start to hear his voice emerge through the multi-modal narratives of these sixteen (16) significant events. He trusts you will get a sense of how David gains clarity of his self, as he gains a better understanding of his identity, musical identity,  and how his musical self developed over the first twenty years of his life. This research study was always to be an immersive study; a a first-person narrative of David L Page’s personal journey, critical reflection and reflexive practice, highlighting the co-constituted nature of his music practice.
We welcome you to his journey….. 
[NB: Included in each memory blog is a link/s to the associative sonic and musical textures that David feels best represent his in-situation memory of each of the particular significant events].

Message from David L Page

~DLP Pro Image Fun 5b small.20141020

Overview

In the early 1990’s I returned home to Australia following a very productive period in creative practice overseas “performing and writing, including recording and experimenting in production. It was a wonderful period for me – one that I hoped would never end” (Page 2014). I recall I arrived home with a new self-image in terms of my creative practice.
In an attempt to develop my practice for my next stage of life, I undertook a number of creative writing courses. The outcome of these programs were a number of pieces of prose, of key moments within my life while I was growing up [see for example, Boy].  A number of the instructors and peers at the time noted my ability to re-situate my self back into the moment of a past event, in some way re-experiencing that experience, in order to then write about it. It was a technique I had developed and practiced, already using this technique across some of the forms of creative writing I engaged in – streaming my consciousness and song lyrics. This technique applied to writing lyrics aligned with my desired confessional singer-songwriter role. A really positive outcome of these creative writing courses was not only the prose, but perhaps more so, my acceptance of this practice as a conscious, deliberate process that I could now apply to another form of my creative writing, prose.
In early 2014, as I was re-considering the focus of my Doctoral Research Study (I had already been accepted), I began brainstorming my journey as a music practitioner. I was very keen on reflecting on more eras, to recall:
how had I arrived at where I was at as a music practitioner?
what life experiences had influenced who I was, or wasn’t, as a music practitioner?
I wanted to articulate these key life experiences into a fluid narrative – my autobiography – of my journey to date. I did return to some of the prose written in the early 1990’s as well as other pieces of creative writing I had done at other times across my life. This reflective exploration took several months, resulting in the narrative overview, Music Practitioner Part 1 – Beginnings (MP Pt1 – Beginnings) blog. I would like it noted though: when I first started writing this autobiography, I had no thought or consideration about doing a soundtrack around my life’s significant events. I had considered at this stage that I would write in the style that I had always done – in an acoustic folk pop song musical style.
Fast forward to 2016 with me now engaged in my Project 1, some 25 months after I had written the MP Pt1 – Beginnings blog, In my search for a thematic idea for my compositions (songs), I started focussing in on more specific events across my life. This then led to another event, and then another, and then another. This process spanned approxiamtely four (4) to five (5) months, arriving as some thirty-five (35) significant events. I then considered how I was going to derive a musical project out of these significant events, arriving at the idea of focussing in on associative memories of each of the significant events. I would – through reflection – associate musical and sonic events for each of the significant event;  and then craft the sum of these associative memory events into a soundtrack as the cultural production output for my research study.  A musical and sonic collage of my life, if you like.
I knew a challenge for me was going to be to contain the length of the composition – short enough to maintain listener interest; and yet long enough to authentically represent the sum of these significant events. But with thirty-five (35) significant events, it was going to be too long a composition for one Project. I however noted that there was a natural division within the significant events of two time frames that I could possibly divide between my Research Study Project 1 and Project 2: up until twenty (20) years of age; and post-twenty (20) years of age. I decided that it would be logical to have Project 1 represent the associative memories of the first twenty (20) years of my life.
I started experimenting with some sonic events, directly inside the digital audio workstation (DAW). Whilst I gained confidence with my vision, I found that I easily lost focus within each event, and could create some musical or sonic events that were less authentic, less congruent to me of an associated memory. The blogs evolved as a way to more specifically focus in on a range of highlighted events, drawing my self into each of them to determine the actual particular significance of the event. I found by immersing my self into each event via a number of written forms (prose, lyrics, narrative), I could deepen the in-situation experience, and better recall a range of kinaesthetic, auditory, visual, olfactory, or even gustatory sensations of the particular significant event. After experimenting across a number of these significant events, I learnt to trust the physical and emotional responses of these in-situation re-experiences as they occurred. For me, the actual sixteen (16) significant events narrated are real. Whilst immersed in this creative practice, I noted experiences including an inability to breathe, shortness of breath, nausea, headaches and body pain. I relived experiences that brought up emotional responses such as joy, sorrow, fear, sadness, nervousness, loneliness, loss, and feelings of abandonment and shame whilst in-stuating my self within these significant events, and writing these blogs.  My planned research study was always to have been a first-person narrative of my personal journey: an emergent study, revealing aspects of my life I had not previously considered fully, or perhaps fully understood. I expected this journey was potentially going to be revealing, and at times, confronting, True to my expectations, it has been.
I trust that you as the reader can in some way experience my re-experiences of significant events within my personal journey, that I now choose to share.

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Re-experiencing the experience 1

Re-experiencing the experience 1 ©David L Page 2016
Just now,
I realise how much stress I am under
as I delve back into my past,
reflecting on,
and writing about
a particular significant event
in the earliest stage of my life…..

 

 

Whilst writing,
I can feel the tension within
my jaw is tense,
I can feel a pulsing down the side of my head
my forearms and fingers are cramping,
I note I am quite out of breath,
I can hear my heart pumping,
as though I have a stethoscope on
listening with so much intent

 

re-experiencing the experience,
of a particular significant event,
immersing my self back in time,
into a deeply reflective in-situation experience,
at the earliest point of my (life) time…..

 

All of my senses are heightened,
the visual,
the auditory,
the smell,
the taste
the emotion I feel within my body,
everything moving in slow mo (tion),
every thing around….

 

re-experiencing the experience,
of a particular significant event,
immersing my self back in time,
into a deeply reflective in-situation experience,
at the earliest point of my (life) time…..

 

 

whilst in the moment
– performing if you like –
deep in the in-situation experience,
deeply reflecting,
in many ways, re-living,
re-expereincing the feeling and emotion
of the particular time, place and event

 

“What is that strange taste?”, I thought
as I instinctively wiped my chin,
snapping back into the current moment,
I realised I had vomited,
mainly within my mouth,
but with evidence down my front

 

 I stepped back
– out of my painting as such –
for a split second,
and considered how I possibly felt back then
in that particular significant event,
such a  long time ago

 

re-experiencing the experience,
of a particular significant event,
immersing my self back in time,
into a deeply reflective in-situation experience,
at the earliest point of my (life) time…..

 

All of my senses are heightened,
the visual,
the auditory,
the smell,
the taste
the emotion I feel within my body,
everything moving in slow motion,
every thing around….

 

I had many similar in-situation experiences,
over the past six months time,
all whilst undertaking this research study,
into the significant events that made up my life,
from Age 2 to Age 20,
in the formative stage
of my growing
up…
I welcome you to my journey
re-experiencing the experience,
of sixteen (16) particular significant events..

 

immersing my self back in time,
into a deeply reflective in-situation experience,
in order for me to gain a better understanding of
my self,
my identity,
my musical identity,
and how my musical self has developed
over the first twenty years of my life…..
(Page 2016a).

 

In-situation re-experiences (aka deep reflective practice)

In-situation re-experiences (aka deep reflective practice) ©David L Page 2017
As you read…
I welcome you to feel…
But of all of the feelings that you can embrace,
please do not feel sorrow or pity …
it is not the point of this journey
that I am taking my self on…
The point of this journey – this process – is for me….
to work through significant events of my life,
to date
to reconcile what I have done in my life,
against what it is that I have wanted to realise,
but have not been able to succeed in,
yet…

 

It is perhaps not surprising
for those who know me,
you understand I am grateful for who I am,
where I have been,
where I have come from…

 

I am here,
as a result of all that has gone before me…
all that I have been through

 

I know my tales are not perhaps
what you’ve heard in other’s
worldly tales of their complicated lives,
some so horrific,
you wander how they lived to tell it at all…

 

I certainly do not want to minimise
those real life stories of
genuine pain, suffering and hardship

 

I have had the blessing of living a privileged life
though, living true to my self
in certain areas of life,
still evades me …

 

and so, I choose not to
let go of this investigation,
my self-imposed intervention process,
my auto-ethnographic research study
with me playing the subject,
and the observer
of the self

 

after all, what is a life for?
gain more understanding of who you are,
and perhaps learn better,
what you are here (on earth) for….

 

there is something in my journey,
that has caused me to be unsettled
for as long as I recall,
it is the point of this journey
that I  am taking on
the study of my self…

 

The point of this journey – this process – is for me….
to work through significant events of my life,
to date
to reconcile what I have done in my life,
against what it is that I have wanted to realise,
but have not been able to realise,
yet…
Without endorsing any behaviours or acts,
that you may realise along my journey,
I know that I am stronger
as a result..

 

Through this process
I am trying to understand,
what brought me to where I stand today..

 

Nothing more, nothing less…

 

So I welcome you to proceed..
I welcome you to reflect on what I have lived,
and where I have been ..
If this helps you understand a little bit more of either,
me….
perhaps you (your self)….
or perhaps someone else…
in which you have crossed paths,
then all the better …..

 

I believe we are all in this thing called life together,
whatever one experiences…
Hopefully others can benefit from our stories,
with lessons to learn,
understandings to gain
for everyone …
So without taking more time out of your busy schedule
I welcome you to engage in…
into any number of episodes in the early stage of life
of me
(Page 2017).

onion-layers

The next blog in this Project 1 series is Memory – Age 2.
References
Onion image courtesy of: Onion Layers Accessed 28th March, 2015
Page, David L. 2017. “In situation re-experiences (aka deep reflective practice)” ©David L Page 2017
Page, David L. 2016a. “Re-experiencing the experience 1” ©David L Page 2016
Page, David L. 2016b.  Research Practitioner Part 16  Accessed 11th March, 2017
Page, David L. 2014.  Music Practitioner Part 1 – Beginnings  Accessed 11th March, 2017
Page, David L. 1991 Boy Accessed 11th March, 2017
Page, David L image courtesy of David L Page. Accessed 23rd October, 2016
Pulsating image courtesy of: Image Accessed 15th January, 2016
QUT Creative Industries image courtesy of:  Queensland University of Technology  Accessed 23rd October, 2016
– ©David L Page 24/10/2016
– updated ©David L Page 31/12/2016
– updated ©David L Page 11/03/2017
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.

SaveSave

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Memory – Age 4

DLP_Age 4_Cropped_Fade.P2

A Few Months Past Four….

A Few Months Past Four….©David L Page 2016
Verse 1: I recall going to kindy
A neighbour drove me with their children,
My local street kids – one the same age as me..
And his little sis
They dropped us off for the day….
It was in a local church,
on a very busy highway corner…
Not such a great place to be, I recall…..
I was only a few months past four…

Peter Rabbit.P1.png

(Daily Telegraph 2015)
Verse 2: The church steeple was a tall as the tallest tree I had ever seen..
It had a cross waiving in the wind above
dark and grey, serious and large
Taller than anything I had ever seen
Refrain: Not such a great place for a child I recall,
I was only a few months past four…
Chorus 1: I played games, but not without hesitation
Who were these other kids (who were there)?
Everyone running around and screaming…
Refrain: Not such a great place for a child I recall,
I was only a few months past four…
Verse 3: I remember around this time,
I messed my pants a lot, I recall,
Almost as though I didn’t know what to do
Feeling outside of my body, and
wondering what everything was about..
what is this skin thing that is wrapped around me?
What does it do, how do I know what to do?
Chorus 1: I played games, but not without hesitation
Who were these other kids (who were there)?
Everyone running around and screaming…
Refrain: Not such a great place for a child I recall,
I was only a few months past four…
Middle 16: And then, at about half-past one
forty (40) of us went into a large grand hall,
lights were low
as we lay down on some portable camp beds
with a blanket and a little pillow
they intended us to fall asleep
But I recall only being able to stay awake…
gazing up at the height of the cathedral ceiling ….
Or at the gigantic stain-glass windows
I can hear some kids coughing,
some sobbing,
some sleeping I recall,
there is just something about this time…
I would listen to the (near) silence
and allow me time, to be me…..
Chorus 1: I played games, but not without hesitation
Who were these other kids (who were there)?
Everyone running around and screaming…
Refrain: Not such a great place for a child I recall,
I was only a few months past four…
Return to Middle 16: they intended us to fall asleep
But I recall only being able to stay awake…
gazing up at the height of the cathedral ceiling ….
Or at the gigantic stain-glass windows
I can hear some kids coughing,
some sobbing,
some sleeping I recall,
there is just something about this time…
I would listen to the (near) silence
and allow me time, to be me…..
I was only a few months past four…
Chorus 1: I played games, but not without hesitation
Who were these other kids (who were there)?
Everyone running around and screaming…
Refrain: Not such a great place for a child I recall,
I was only a few months past four…
Return to Middle 16: I looked forward to this time every day…
gazing up at the height of the cathedral ceiling ….
Or at the gigantic stain-glass windows
I can hear some kids coughing,
some sobbing,
some sleeping I recall,
there is just something about this time…
that allows me time, for me…..
I was only a few months past four…
A Few Months Past Four….©David L Page 2016This audio event represents a developed sense of my recollection of this significant event. 
Peter Rabbit.P2
(War Memorial Register 2016)
The next blog in this Project 1 series is Memory – Age 5.
References
Daily Telegraphy. 2015. History of Pearces Corner on Pennant Hills Rd by Tom Richmond, Hornsby Advocate, September 4, 2015. Accessed 26th December, 2016
DLP image courtesy of: Slideshare  Accessed 27th December, 2016
Page, David L. 2016. “A Few Months Past Four….” ©David L Page 2016
DLP Soundcloud. 2016.  DLP Soundcloud  Accessed 27th December, 2016
War Memorial Register. 2016. Home of Peter Rabbit Kindergarten  Accessed 26th December, 2016
A Few Months Past Four …. audio link courtesy of: David L Page  Accessed 27th December, 2016
– ©David L Page 27/06/2016
– updated ©David L Page 28/12/2016
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.

Doctoral Pilot Study – Part 4

Doctorate of Creative Industries Project 1

research

Precis

Continuing on from my previous blogs in this series; as a person new to formal academic research studies,  I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time.
(Page, 2016a)
Therefore, in order to anchor myself, one of my supervisory advisors suggested that I revisit an exercise that I had done many times over my life – re-develop a values statement – a charter of goals, values and beliefs for both myself and my music practice.
The Art of self-reflection
I embarked on this exercise, and was able to at this stage of my research study, gain new levels of understanding of my self and my practice, and then apply them reflexively to my self and practice. In short, it allowed me to develop clarity, increase my confidence with the task at hand, and move on with my Research Study Project 1.

research-methodology

Background – Research Project Methodology (excerpt from Project Brief)

Mixed-methods qualitative study

mixed-methods-research_creswell-clark

This empirical research study will be conducted through my experiential phenomenological lens (Grace and Ajjawi 2010, 198), using a mixed-method qualitative methodology, including that of: practice-led research, evocative auto-ethnography, reflective practice, and reflexive practice, over the two projects.
Reflecting on my life across numerous disciplines, I recognise I am the archetype who has to experience activities in life, rather than just theorising about it at arm’s length. Irrespective of my creative, sporting, or professional endeavours of education and management, I learnt early that I need to experience something to understand it. In Experiential Phenomenology professional practitioners tend to be less interested in the philosophy of phenomenological method than its practice and application (Grace and Ajjawi 2010). Understanding this, I can therefore see how looking at the body of field literature through my lens can contribute to the field. I note that De Carvalho’s (2012) perspective in her article “The Discourse of Home Recording” article is that of a radical structuralist, viewing the world from a power relationship basis (Burrell and Morgan 1992). Whilst interesting from a point of view of understanding the power relationships within the broader industry, I fail to see the relevance of this perspective in trying to understand and improve the efficiencies of my practice. Blom et al refer to practice-led as the insider, reference to the subject being inside the study (Blom et al 2011, 366). As I am in a dual primary role of both subject and researcher within this study, I am well inside this study.
Auto-ethnography
Choosing auto-ethnography for this research study is a natural selection of methodology given the relationship I have with music. When I first heard the soul singers, the rhythm and blues singers, and the confessional singer songwriters of the 1960’s, I was drawn in. I found my home. The rawness, the honesty and the truthfulness spoke out to my self. As a writer, irrespective of prose or music, I learnt from a young age to write without a filter – to write from a place of honesty, truthfulness, very personally. Auto-ethnography enables the subject to be brought back under the spotlight, and celebrates the personal, the emotional and the vulnerable qualities that are deeply embedded within (Ellis & Bochner, 2000). This study is about that self, my practitioner self, the self at the heart of my music practice, learning to understand how I can maintain an open and constant relationship with that person across all music practice, irrespective of musical style, technology, workflows, or creative location. I accept that my music practice-based research study will be an emergent one, illuminating my self and how I see my self within my world, through the creation and development of an original EP. Auto-ethnography is about telling a story, as is the creation of music, be it the compositional aspect, or the lyrical aspect. Mykhalovsky asserts: “to write individual experience is, at the same time, to write social experience” (1996, 141). Creating art is about creating a narrative, usually reflecting on an experience or observation, and then making the specific very general so others relate to it. It is as Mykhalovsky describes.
– Evocative Auto-ethnography
Focussing within the discipline of ethnography, Ellis points out that evocative auto-ethnography is about writing emotionally about our lives (Ellis 1997). Ellis in Pace (2012, 5) notes that evocative auto-ethnography is
“distinguished by the following characteristics: the author usually writes in the first-person style, making himself or herself the object of the research; the writing resembles a novel or biography in the sense that it is presented as a story with a narrator, characters and plot the narrative text is evocative, often disclosing hidden details of private life and highlighting emotional experience” (Pace 2012, 5).
The 10,000 word exegesis will be a first-person narrative of my personal journey, with myself performing the dual primary roles of being both the subject, and the researcher. I am expecting the study to be revealing, and at times, confronting. I expect the study of the music practitioner will not be dissimilar to that of being a music practitioner, writing and performing from a place that is often revealing and confronting.

reflection

 Reflective Practice
I practice music everyday, and have done for over four decades. As indicated early on in this Project Brief, I have practiced music without the conscious connection to motive or self. This is a great example of how practitioners, especially sole practitioners who are usually working in isolation without the possibility of input from other organisational members, can progress on a particular focus of functional music practice without looking outside of their realm. What practitioners require is a regular opportunity to stop and consider their everyday actions and processes. As Lawrence-Wilkes & Chapman (2015) state, “reflective practice provides an opportunity to enhance professional performance and self-development by enabling insight and assisting learning for new understanding, knowledge and action”. As a multi-method practice-led approach, I will draw on and apply multiple approaches of reflective practice across the two-year full-time research study, in both Project 1 and 2. I will look to the approaches of: Schon (1983); Brookfield (1995); Brookfield (2002); Lyon (2010); Pascal & Thompson (2012); Archer (2007), Archer (2010), Ryan (2014), Griffith (2010), and Finlay (2008) for insight regarding this practice. At this time, I am considering commencing with two art’s based discussions of reflective practice, and three non-art’s based reflective practice authors. Ryan’s (2014) approach as outlined in “Reflective Practice in the Arts”. Whilst not music practice specific, she talks about performative practice which applies very well to music practice. Additionally, Ryan draws heavily on Archer, a considered expert in the area of reflective practice. Secondly, the work of Griffith’s discusses the researcher self, which has obvious parallels with my research study of the practitioner self (2010). Both authors discuss a mixed method of reflective practice and reflexive practice within their arts-based discussions. One of the advantages of a mixed method qualitative research study is that it permits complementary methods, allowing the results or findings of one method to shape the subsequent steps in the research process (Robson 1993). The other advantage of mixed method qualitative approaches is that it permits triangulations and enhances interpretability of the literature and data collected increasing the validity of the research findings. There will be extensive empirical data gathered as a matter of process, with commentary and reflection regarding the opportunities and challenges of certain workflows and combinations of the elements of music practice. The three non-art’s based authors I will draw on are: Schon’s (1983) “Reflection-in-action” and “Reflection-on-Action”; Pascal and Thompson’s (2012) “Reflection-for-action”; and Lyon’s (2010) Reflective Journal toolkit question. (Page 2015).
Now that I have established a context for my DCI Research Study, I will share my Charter of Values and Beliefs (as at 31st December, 2015).

~DLP Pro Image 1.20141020

DLP’s Charter of Values and Beliefs v1

onion-layers

Year 1 Research Study Part 1a – who I know I am now

1a. Self: In life, I value a holistic perspective [Value]. I strive to consider life from a global holistic perspective [Goal] . I believe I consider my life and varied forms of practice from a global holistic perspective [Belief].
1b. Self: In life, I value balance [Value].
I strive to be balanced, to be a balanced, functional human being – affective, expressive and communicative – mentally, physically, spiritually [Goal]. Whilst being very busy, I believe have balance in my life. I believe I am a balanced, functional human being – affective, expressive and communicative – mentally, physically, spiritually [Belief].
1c. Self: In life, I value intellect/mindfulness [Value]. I strive to approach life with an open and inquiring mind [Goal]. I believe I approach most aspects of life with an open and inquiring mind, applying thought and mindfulness [Belief].
1d. Self: In life, I value emotion [Value]. I strive to be emotionally connected [Goal] . I believe I am an affected being [Belief].
1e. Self: In life, I value joy [Value]. I strive to be connected to joy and happiness [Goal] . I believe I am a joyful being [Belief].
1f. Self: In life, I value physical connection [Value]. I strive for physical connection in everything I do [Goal]. I believe I am a physical being – a tactile being, a kinesthetic being, a sensual being [Belief].
1g. Self: I value a sincere and deep level of engagement with others [Value]. I aspire to engaging with others in a sincere way, and to a deep level of engagement with others [Goal]. I believe I engage with others in a sincere way, and to a deep level of engagement with others – in a genuine and congruent manner [Belief].

onion-layers

Year 1 Research Study Part 1b – who I know I am now as a practitioner

2a. Self & Practice: In my life I value self-reliance [Value]. I aspire to being self-reliant [Goal]. I believe I am able to be self-reliant in most aspects of my life, but choose to, or not to as I see appropriate [Belief].
2b. Self & Practice: I value a high standard of practice [Value]. I aspire to execute a high standard of practice [Goal]. I believe I operate at a high standard of practice in most areas of my life [Belief].
2c. Self & Practice: I value a complex multi-dimensional approach to practice [Value]. I aspire to execute a complex multi-dimensional approach within my practice [Goal]. I believe I execute a complex multi-dimensional approach within most areas of my life [Belief].
2d. Self & Practice: I value spontaneity (being spontaneous = freedom for DLP) [Value]. I aspire to spontaneously – effortlessly, naturally – alter my practice as I see fit/appropriate [Goal]. I believe I operate in a spontaneous manner – effortlessly, naturally – in my various forms of practice [Belief].
2e. Self & Practice: In my life I value being prepared [Value]. I aspire to being prepared in all situations, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I believe I prepare thoroughly for my practice, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others. I believe such preparation is an integral part of the practice process [Belief]
2f Self & Practice: In my life I value appearing to be in a relaxed state [Value]. I aspire to appearing to be in a relaxed state in all situations, enabling the execution of what appears to be an effortless/natural/automatic high level of practice; in turn facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I believe I prepare thoroughly for my practice, prior to practice, in order to be in a relaxed stated at the time of public practice (ie the performance). Being in this state in turn facilitates optimum engagement and maximizes the opportunity of an optimum experience for others. I believe such a relaxed state in public performance is a key element of the practice process [Belief].

onion-layers

Year 1 Research Study Part 1c – who I know I am as a practitioner

3a. Social and Cultural contexts: I value social and cultural diversity [Value]. I strive to live across a very wide and broad range of social and cultural contexts – countries and cultures in my life [Goal]. I believe I embrace a very wide and broad range of of social and cultural contexts – countries and cultures in my life [Belief].
3b. Social and Cultural contexts: I value equal opportunity for all – irrespective of gender, race, sexual preference, impairment [Value] . I strive to provide equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Goal] . I believe I assist people by providing equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Belief].
3c. Social and Cultural contexts: I value opportunity for all for learning and development to navigate their life  – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… (what I refer to as “community education”) [Value] . I strive to assist people to gain an opportunity for learning and development – helping them to navigate their life –  their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Goal]. I believe I assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Belief].

Year 1 Research Study Part 1d – who I know I am as a music practitioner

4a. Music Practice: I value social and cultural diversity of music style [Value]. I strive to experience and be influenced by a very wide and broad range of diversity of music styles in my life [Goal]. I believe I am open to experience and be influenced by a very wide and broad range of diversity of music styles [Belief].
4b. Music Practice: I value the practice of music in a supportive culture and environment [Value]. I strive to practice music in a supportive culture and environment in my life [Goal]. I believe I practice music in a supportive culture and environment [Belief].

onion-layers

Year 1 Research Study Part 1e – who I know I am as a music practitioner

5a. Composition and Performance: I value compositions combining a range of music and sonic textures, appropriate to the music style [Value]. I strive to create compositions integrating a range of music and sonic textures into all of my compositions and performances, appropriate to the music style [Goal]. I believe I integrate a range of music and sonic textures into all of my compositions and performances, appropriate to the music style [Belief].
5b. Composition and Performance: I value compositions combining a range of music and sonic textures, woven together in a holistic cohesive manner [Value]. I strive as a music practitioner to create and play compositions combining a range of music and sonic textures, woven together in a holistic cohesive manner [Goal]. I believe as a music practitioner, I create and play compositions combining a range of music and sonic textures, woven together in a holistic cohesive manner [Belief].
5c. Composition and Performance: I value performing the instruments and musical parts I play, in and around other instruments, integrating/gluing all of the instrumental music and sonic textures together [Value]. I strive to perform the instruments and musical parts I play, in and around other instruments, integrating/gluing all of the instrumental music and sonic textures together [Goal]. I believe I perform the instruments and musical parts I play, in and around other instruments, integrating/gluing all of the instrumental music and sonic textures together [Belief].

~DLP Pro Image 1.20141020

As I developed my Research Study  I developed my Charter of Values progressively, and updated the following as of 25th April 2016 one third (1/3rd) the way through my Project 1.

onion-layers

Year 2 Research Study Part 2a – who I am discovering/accepting myself to be as a practitioner

6a. Self & Professional Practice: In my life I value reflection – regular conscious interrogative introspection in order to consider, critically analyse and appraise my self and my practice [Value]. I aspire to being reflective – regular conscious interrogative introspection in order to consider, critically analyse and appraise my self and my practice (family, music, education, research and management & governance) as appropriate  [Goal]. I believe I am able to be reflective – regular conscious interrogative introspection in order to consider, critically analyse and appraise my self and my practice (family, music, education, research and management & governance) as appropriate [Belief].
6b. Self & Professional Practice: In my life I value ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice [Value]. I aspire to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice (family, music, education, research and management & governance) as appropriate  [Goal]. I believe I am committed to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice (family, music, education, research and management & governance) as appropriate  [Belief].
6c. Self & Professional Practice: I value varied motives of practice [Value]. I strive to practice as a result of many varied motivations [Goal]. I believe I practice as a result of many varied motivations such as: to present and express a holistic balanced perspective; to express, engage and connect with people across a range of senses such as their intellect/mindfulness, emotion, joy and physicality; for engagement – sincere and deep engagement; for nurturing – as a social carer, an encourager, a coach, a mentor, an educator, a friend; for communication – expression, reflection, observation; for learning –  discovery, exploration; for aspiration, inspiration, encouragement, lifetime learning; for emotional, mental and physical exercise; as therapeutic – reflection for balance [Belief].
6d. Self & Professional Practice: In my life I value nurturing [Value]. I aspire to be nurturing being – of myself and others – across my areas of my practice (family, music, education, research, practice) as appropriate [Goal]. I believe I am a nurturing being – of myself and others – across my areas of my practice (family, music, education, research, practice) – a social carer, an encourager, a coach, a mentor, an educator, a friend…. as appropriate  [Belief].

onion-layers

Year 2 Research Study Part 2b – who I am discovering/accepting myself to be as a music practitioner

7a. As a physical being and music practitioner: I value music for its affective, expressive and communicative qualities [Value]. I strive to perform and compose music with affective, expressive and communicative qualities [Goal]. I believe I have at times performed and composed music with affective, expressive and communicative qualities [Belief].
7b. As a physical being and music practitioner: I value physical instruments that emit vibrations and resonances, of a style and size I can physically embrace [Value]. I research across a range of physical instruments to play that emit vibrations and resonances, of a style and size I can physically embrace [Goal]. I believe I search for and play a range of physical instruments that emit vibrations and resonances, of a style and size I can physically embrace [Belief].

Summary

As a person new to formal academic research studies,  I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time.  Therefore in order to try to anchor myself, I embarked on this Charter of Values and Beliefs exercise to develop a contemporary values statement – a charter of values for both myself and my music practice at this time. I was able to gain new levels of understanding of my self and my practice, and start to apply them reflexively to my self and practice. In short, it has allowed me to develop clarity, increase my confidence with this task at hand, my Research Study Project 1.

my-research-study-project_3-points-p2

Figure I – Project 1 Research Study Developed Approach (Page, 2016b)

Next Step

I realise that as my Research Study Project continues and I gain more insight and greater clarity about my self and my practice, I trust this document will require more development. It should be after all recognised as a dynamic document that will continue to evolve, in line my reflections and insights of my self interests, and my practitioner self interests.
This blog series is planned to continue next month with Doctoral Pilot Study – Part 5. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Archer, Margaret S. 2007. Making our way through the world: human reflexivity and social mobility. Cambridge: Cambridge University Press.
Archer, Margaret S. 2010. Conversations about reflexivity, Ontological Explorations. New York: Routledge.
Blom, Diana, Dawn Bennett and David Wright. 2011. “How artists working in academia view artistic practice as research: Implications for tertiary music education.” International Journal of Music Education: 0255761411421088.
Brookfield, Stephen D. 1995. Becoming a critically reflective teacher. San Francisco: Jossey Bass.
Brookfield, Stephen D. 2002. “Using the lenses of critically reflective teaching in the community college classroom.” New Directions for Community Colleges 2002 (118): 31-38.
Burrell, Gibson and Gareth Morgan. 1992. Sociological paradigms and organisational analysis: elements of the sociology of corporate life. Aldershot, Hants: Ashgate.
De Carvalho, Alice Tomaz. 2012. “The discourse of home recording: authority of pros and the sovereignty of big studios.” Journal of the Art of Record Production 7.
Ellis, Carolyn. 1997. “Evocative autoethnography: Writing emotionally about our lives.” Communication Faculty Publications Paper 304.
Ellis, Carolyn S and Arthur Bochner. 2000. “Autoethnography, personal narrative, reflexivity: researcher as subject.” In The Handbook of Qualitative Rsearch, edited by Norman Denzin and Yvonna Lincoln, 733-768. New York: Sage.
Finlay, Linda. 2008. “Reflecting on ‘reflective practice’.” Practice-based Professional Learning Centre paper 52 29 (August 12th, 2015). www.open.ac.uk/pbpl.
Franz, Jill M. 2010. Arts-based research. Researching Practice: A Discourse on Qualitative Methodologies 2: 217-226.
Grace, S and R Ajjawi. 2010. “Phenomenological research: Understanding human phenomena.” Researcing practice: A discussion on qualitative methodologies. Rotterdam: Sense.
Griffiths, Morweena. 2010. Research and the self. In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 167-185. London: Routledge.
Lyons, N. 2010. Handbook of reflection and reflective inquiry: mapping a way of knowing for professional reflective inquiry. Vol. 1 New York: Springer.
Mykhalovsky, Eric. 1996. “Reconsidering Table Talk.” Qualitative Sociology 19 (1).
Pace, Steven. 2012. Writing the self into research using grounded theory analytic strategies in auto ethnography. TEXT Special Issue Website Series 13.
Page, David L. 2016b. QUT KKP622 Mid-Project 1 Research Study Progress Report submission draft Accessed April 24, 2016.
Page, David L. 2016a. 7th Observation image. Created April 24, 2016.
Page, David, L. 2015 QUT KKP603 Project Development in the Creative Industries submission DLP DCI Project Brief  Accessed April 22, 2016.
 Pascal, J and N Thompson. 2012. “Developing critically reflective practice.” Reflective Practice: International and Multidisciplinary Perspectives 13(2) 311-325. Accessed June 12, 2015. doi: 10.1080/14623943.2012.657795.
Robson, C. 1993. Real world research. Oxford: Blackwell.
Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
Wright, David George, Dawn Bennett and Diana Blom. 2010. The interface between arts practice and research: attitudes and perceptions of Australian artist‐academics. Higher Education Research & Development 29 (4): 461-473.
David L Page image courtesy of: David L Page’s Linked-In   Accessed 24th April, 2016
Research image courtesy of: Research Accessed 28th January 2016
Research Methodology Summary image courtesy of: Research Methodology Accessed 28th January 2016
Mixed Methods Research image courtesy of: Mixed Methods Research Accessed 25th April 2016
Onion image courtesy of: Onion Layers Accessed 28th March, 2015
Values image courtesy of: Values Accessed 25th April 2016
– ©David L Page 25/04/2016
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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Doctoral Pilot Study – Part 3c

cooltext170962165748837

“I don’t know where I’m going from here, but I promise it won’t be boring” [David Bowie].

 Observations of my practice

The Art of self-reflection

Since commencing my Doctorate in January 2015, I have immersed my self in researching the industry and field of my practice, attempting to better understand how my practice sits within the very broad fields of music and sound. As I drilled down further, I defined a number of divergent disciplines within the field of music and sound that had emerged as technologies developed (Théberge 1997, in Page 2015a). Reflecting on the path my music practice had taken over a number of decades, I noticed that my path had taken what could only be described as a diagonal trajectory, across a number of the disciplines of music practice, as technologies were developed. Like many of my peers, I seemed to be attracted to new technologies and attempts to apply these, like to a moth to a lamp, I was passionate about analogue technologies; but I was also curious as to the opportunities that digital technologies brought to practice: the multiple array of sound options within a small device, relative to the multiple analogue devices that would be needed to produce a similar array of sounds. Then as virtual environments became possible with the development of computer technologies, my curiosity was again attracted to the possibilities: the exponential array of sound options, within a relatively small device such as a desktop computer, relative to the multiple digital devices that would be needed to produce a similar array of sounds (see History Music Production Part 5a). As I delved deeper into my past, I accepted that I did not see my self as an innovator, just curious. A music practitioner who was attracted by new sounds and approaches to music production and performance. I began to recognise that I naturally took a multi-disciplinary approach in not only my music practice, but in my life in general. I recall few times in my life where I was content to focus on one discipline for an extended period of time. I have accepted that my practice now covers three broad disciplines: a broad definition of music practice (Small 1998), education and learning practice, and my most recent engagement, research practice.

Research Practice

Continuing on from my previous blogs in this series; I have actively engaged in research practice investigating various research methodologies, I started to define my view of what my practice was. Whilst I have not formally studied Reflective Practice at a tertiary level, I have been presented a number of formal tertiary milestone opportunities where I was required to reflect on my practice. As a post-graduate research student, I am reading broadly about this particular methodological practice in order to improve my understanding. Whilst reading, I have found my self reflecting on each of my various forms of practice, and speculating how the particular methodological practice may apply to any of these forms.
Questions arising in my mind over the past several months have included:
  • What is the range of opinions about the process of reflecting within academic literature?
  • What of these opinions have been related to the context of creative practice?
  • What benefits might I expect as result of my reflecting on my own creative practice?
    • Should I expect these benefits to be of a tangible or non-tangible form?
    • If of a non-tangible form, how will I know that I have received the benefit?
  • Does the current literature differentiate between the process of reflecting, and what is referred to as reflective practice?
  • What are there different models of reflective practice, and how could they be applied?
  • Could different models of reflective practice be more appropriate to different forms of practice?
  • Is the act of reflective process in itself expected to bring benefit to my practice?
As I have progressed my Project 1’s creative process over the past several months – particularly in terms of the collection of data and accompanying documentation process –  I have found myself considering:
  • if I reflect in my music practice?; and if so,
  • how do I reflect in my music practice?
Further questions have arisen:
  • assuming I reflect, at what point in my practice – ie when – did I engage in reflective practice?
Further:
  • were there any observations in regard to the timing of my reflective practice? (ie: positive, neutral or negative implications);
  • had I observed that my reflective practice occured as a planned or unplanned process?
  • what did my reflective practice process look like? (ie: site, time relative to my practice, did I collect evidence of these reflections? and if so, how did I collect this data/by what mediums did I collect this reflection data)?
  • had I observed any benefits from engaging in reflective practice?
  • to what degree would I classify these benefits as being tangible or non-tangible?
  •  how did I engage in the act of reflection or reflective practice? 
Given that I nominated a number of authors in my project brief  who I had thought I would align myself to their approaches to reflective practice, have I found any of these models useful in the process of investigating my practice?
  • If so, which particular model or models have I found to be useful at which stage of my practice?
  • If not, are there other reflective practice models defined in academic literature that may better apply to my practice?
  • If so, which model or models may these be?

Reflective versus Reflexive Practice

The other side of the discussion practitioners may have with fellow reflective practitioner models is: when does creative practice move from one of reflection, to that of reflexive practice?  Reflexive practice is referred to when practice is reflected upon, and  choices of improvements are determined to trial and integrate into one’s practice moving forward. There is a sequence to the two forms of practice merely by definition, but as to how I can use or integrate these into my practice is still unclear to myself.
For me as a songwriter, I have for many years acknowledged that I intuitively use a writing technique called stream of consciousness – writing commenced from a specific stimuli (visual or other), writing continuously, pursuing a thought process without stopping for contemplation, narrowing ones’ focus in on a central theme, until the point of a specific topic and line of thought is illuminated and committed to the document (paper of electronic). I find as part of the process I actually move into a semi-conscious state. It is as Ryan describes Archer’s model in “Reflective Practice in the Arts”. Whilst not music practice specific, Ryan talks about performative practice which applies very well to this experience of this creative stage of my music practice. Archer’s model terms this type of reflective practice  as [bottom right point] “Expressivity – reflecting as performer to improve/change in the moment” (Ryan 2014, 80).

archer-in-ryan-2014-p80_reflective-practice-in-the-arts

Figure I – Archer’s Reflective Practice model (Ryan 2014)
At the moment of time within my stream of consciousness writing, I am performing – improvising within my mind, considering and expressing, and then responding to my prior thought/s. It is much the same way I respond when I am performing music, and improvising. I am reflecting in the moment, and within a slit second responding with another melodic, harmonic and rhythmic line. I think the key aspect of this type of reflection is ‘in the moment’.  The reflective practice is on-site, in the moment. As noted in a previous blog, Schon (1983) refers to this reflective practice as being “reflection-in-action”. As a music practitioner I engage in this form of reflective practice regularly. Effectively,  I am in the creative process, performing. The evidence of this reflective practice is actually the output of the performance – the cultural production; whatever form that may be. Whether the improvised instrumental solo that may or may not be captured on tape or video; or the stream of conscious writing committed to the document (paper of electronic).
Aesthetics is another stage of the reflective practice process according to Archer: “Aesthetics – reflection of the perceiver of art” (Ryan 2014, 80). According to Archer’s model, aesthetics is a arm’s length reflective practice. It may also include other’s in the performance piece, other than the creative practitioner such as an audience member, who is observing the performance as it occurs, with the performer actually responding to their response (facial, vocal, etc) and altering their creative practice as a result. However, as a researcher observer of my own creative practice, stopping and considering my process from a distance – perhaps even only at an arm’s length – is highly likely going to cause the creative performance in the moment, to stop, while the practitioner, the observer, steps back and look at their art from a greater distance than in the first step of the reflective practice stage; that of expressivity.
The last stage of Archer’s reflective process is that of expression: “Expression through symbolic capture – reflecting on and learning about self through the semblance produced” (Ryan 2014, 80). This process is likely to be in contrast to the two former stages of the reflective practice process. Instead of being on-site, this part of the process, is likely to be away from site, as part of what Schon (1983) has referred to as either “Reflection-on-Action”; or possibly what Pascal and Thompson (2012) has referred to  as “Reflection-for-action”.
With this distinction, I realised I needed to read more broadly and deeply to consider my reflective practice model options from other specialist research practitioners, to apply to my particular auto-ethnographic research study. These are likely to be, in addition to the previously discussed Schon (1983), Brookfield (2002,1995, 1986), Archer (2010,2007), Ryan (2014) and Griffiths (2010); Rolfe (2002), Kolb (1984), Lawrence-Wilkes and Ashmore (2015), and Boud (2001).
I also need to research how one is expected to then test one’s practice, pre-reflection and post-reflexive developments. It would seem to be quite a challenging task, but a necessary one to be able to provide qualified or quantified evidence of either positive or not positive results from such reflective and reflexive practice within my research study. It is after all a requirement of robust academic research – to demonstrate thorough research practice.
This blog series is planned to continue next month with Research Practitioner Part 6. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Archer, Margaret S. 2007. Making our way through the world: human reflexivity and social mobility. Cambridge: Cambridge University Press.
Archer, Margaret S. 2010. Conversations about reflexivityOntological Explorations. New York: Routledge.
Bowie, David David Bowie quote  Accessed 3rd January 2016.
Boud, David. 2001. “Using journal writing to enhance reflective practice.” New Directions for Adult and Continuing Education 2001 (90): 9-18. doi: 10.1002/ace.16.
Brookfield, Stephen D. 2002. “Using the lenses of critically reflective teaching in the community college classroom.” New Directions for Community Colleges 2002 (118): 31-38.
Brookfield, Stephen D. 1995. Becoming a critically reflective teacher. San Francisco: Jossey Bass.
Brookfield, Stephen. 1986. Understanding and facilitating adult learning: a comprehensive analysis of principles and effective practices. Milton Keynes: Open University Press.
Griffiths, Morweena. 2010. Research and the self. In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 167-185. London: Routledge.
Kolb, David A. 1984. Experiential learning: experience as the source of learning and development. New Jersey: Prentice-Hall
Lawrence-Wilkes, L and A Chapman. 2015. Reflective practice. Accessed 2nd June 2015. http://www.businessballs.com/reflective-practice.htm.
Page, David L. 2015a History Music Production Part 4 – Large Format Console Studios to Digital Project Studios  Accessed 18th March 2016.
Page, David L. 2015b. History of Music Production Part 5a – Rise of the DIY Practitioners Accessed 18th March 2016.
Pascal, J and N Thompson. 2012. “Developing critically reflective practice.” Reflective Practice: International and Multidisciplinary Perspectives 13(2) 311-325. Accessed June 12, 2015. doi: 10.1080/14623943.2012.657795.
Question mark image courtesy of: Cool Text Accessed March 18, 2016.
Rolfe, Gary. 2002. “Reflective practice: where now?” Nurse Education in Practice 2 (1): 21-29.
 Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Schön, Donald A. 1983. The reflective practitioner: how professionals think in action. Aldershot, England: Arena.
Self reflection image courtesy of: Self-reflection-for-personal-growth  Accessed 18th March 2016.
Small, Christopher. 1998. Musicking: the meanings of performing and listening. Hanover: University Press of New England.
Théberge, Paul. 1997. Any sound you can make: making music/consuming technology. Hanover: University Press of New England.

 

Bibliography
Blom, Diana, Dawn Bennett and David Wright. 2011. “How artists working in academia view artistic practice as research: Implications for tertiary music education.” International Journal of Music Education: 0255761411421088.
Ellis, Carolyn. 1997. “Evocative autoethnography: Writing emotionally about our lives.” Communication Faculty Publications Paper 304.
Ellis, Carolyn S and Arthur Bochner. 2000. “Autoethnography, personal narrative, reflexivity: researcher as subject.” In The Handbook of Qualitative Rsearch, edited by Norman Denzin and Yvonna Lincoln, 733-768. New York: Sage.
Ferry, Natalie M. and Jovita M. Ross-Gordon. 1998. An inquiry into Schön’s epistemology of practice: exploring links between experience and reflective practice. In Adult Education Quarterly48 (2): 98-112. doi: 10.1177/074171369804800205.
 Finlay, Linda. 2008. “Reflecting on ‘reflective practice’.” Practice-based Professional Learning Centre paper 52 29 (August 12th, 2015). www.open.ac.uk/pbpl.
Franz, Jill M. 2010. Arts-based research. Researching Practice: A Discourse on Qualitative Methodologies 2: 217-226.
Gibbs’ Reflective cycle image courtesy of: https://www.pinterest.com/pin/543739354987865666  Accessed March 18, 2016.
Grace, S and R Ajjawi. 2010. “Phenomenological research: Understanding human phenomena.” Researcing practice: A discussion on qualitative methodologies. Rotterdam: Sense.
Haseman, B 2015. Forensic reflective practice: effecting personal and systemic change. Accessed 7th July, 2015. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.
Kolb, Alice Y and David A Kolb. 2009. “Experiential learning theory: a dynamic, holistic approach to management learning, education and development.” In The Sage handbook of Management Learning, education and Development, edited by Steve J Armstrong and Cynthia V Fukami, 42-68. London: Sage.
Knowles, Zoë, Gareth Tyler, David Gilbourne and Martin Eubank. 2006. Reflecting on reflection: exploring the practice of sports coaching graduates. Reflective Practice 7 (2): 163-179.
Lyons, N. 2010. Handbook of reflection and reflective inquiry: mapping a way of knowing for professional reflective inquiry. Vol. 1 New York: Springer.
McKee, Alan. 2003. Textual analysis: a beginner’s guide. London: Sage.
Mykhalovsky, Eric. 1996. “Reconsidering Table Talk.” Qualitative Sociology 19 (1).
Pace, Steven. 2012. Writing the self into research using grounded theory analytic strategies in auto ethnography. TEXT Special Issue Website Series 13.
Page, David 2016 QUT KKP622 Mid-Project 1 Research Study Progress Report submission draft Accessed 18th March 2016.
Page, David 2015c QUT KKP603 Project Development in the Creative Industries submission DLP DCI Project Brief  Accessed 18th March 2016.
Roth, Robert A. 1989. Preparing the reflective practitioner: transforming the apprentice through the dialectic. In Journal of Teacher Education 40 (2): 31-35.
Wright, David George, Dawn Bennett and Diana Blom. 2010. The interface between arts practice and research: attitudes and perceptions of Australian artist‐academics. Higher Education Research & Development 29 (4): 461-473.
– ©David L Page 20/03/2016
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.

Doctoral Pilot Study – Part 2c

My journey continues….

~DLP Pro Image Fun 5b small.20141020

(Page 2014)
This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: 5th Observation Part c

Whilst I was making headway with the development of my music praxis – significant headway in my opinion – , my actual production plan still did not have the degree of clarity I had hoped for after four (4) weeks. I therefore decided to go through each step of my Praxis v5a in terms of my production process, deliberately and systematically.
DLP DCI Praxis v5a.20160131.P2
Figure I – Praxis v5a (Page 2016b)
In following this process I made my 5th Observation.
5th Observation.P5e.renamed.png
Figure II – 5th Observation (Page 2017)

Practice….20171230.P2b

Practice

Of the five (5) stages of practice, I was in the first stage of creative practice: the creative stage.
  1. Creative Stage
  2. Pre-production Stage
  3. Production Stage
  4. Post-Production Stage
  5. Distribution Stage
 In the creative stage, I brainstormed a number of Project 1 creative ideas based on my project brief. The five (5) track EP was to be representative of some aspect of my life: past, present or future envisioning.
Site
The next element listed in my Praxis 5a was site.
“Listening to the making of ‘Dark Side of the Moon’ (with Alan Parsons as engineer), I ponder…. Unlike so many US bands of the time whose core attraction was the live performance, Pink Floyd and other British bands I was predominantly listening to and influenced by, effectively used the studio as their stage” (Page 2016c; Gallagher 2012; Price 2015; Ryan & Kehew 2006)
For me, I had always been a performer. In the tradition of US bands, my core expression was on stage in a live performance. I had recorded specific music styles that I knew could translate easily to the live sound context – the stage in a venue. However, the musical style I was focussing on here – psychedelic rock – clearly had demands for different types of technology required.
Psychadelic Rock image_Ultimate Guitar.com
The music style I was pursuing was inspired by British-based psychedelic rock artists of the late 1960’s and early 1970’s. The site of these performances were in the studio, and therefore each of these creations were done with the aid of studio-based technologies.
Technologies
In order for me as an artist/performer to be able replicate and reproduce the range of studio-created music and sonic tones, I was going to need access to these devices. I pondered: how was this to be done in the production process effectively and efficiently?
I had at this time access to an elaborate range of virtual technologies third (3rd) party plug-in instruments and processors. These included replications of many analogue devices of the particular production era I was focussed on – late 1960’s and early 1970’s – , including instruments such as synthesisers; and audio processors in the three categories of spectral, dynamic and time-domain.
DP PT compatible Plug-ins by Manufacturer.20160215.P1.png
Figure III – 3rd Party Plug-Ins by Manufacturer (Page 2016d)
Whilst I had access to some of the more notable manufacturers such as Eventide, Lexicon and SSL; along with access to a broad range of more recent notable manufacturers such as AIR Music Technology, Antares Audio Technologies, Avid, East West, IK Multimedia, Massey Plugins Inc, Native Instruments, PSP Audioware, Sonixvox, Sonnox, SoundToys, XILS-Labs and iZotope; I wondered  whether the virtual technology replications were going to allow me the dense layering of the textures required for the psychedelic music style. Analogue processing devices were well regarded for their warmth of tone and range of sonics, with music recorded with such equipment often characterised with aesthetically pleasing device-induced distortion, hum and other noise associated with imperfect analogue devices [1].
Technology – Stage versus Studio
Of the technology I could readily access – contemporary equipment of analogue, digital or digital virtual devices – either within my studio, at either the SAE Institute studios (as a full-time Senior Lecturer), or at the QUT studios (as a post-graduate research student) what was going to assist me in this process? My mind wandered considering many options.
My performance live rig was quite elaborate for its function to reproduce typical guitar-based rock music. With other floor-based – analogue and digital – devices, and a broad range of analogue guitar amplifiers, my live rig setup was flexible. With a range of – mostly digital – dynamic, spectral and time-based processors, I could reproduce and sculpt just about any music and sonic tone to reproduce just about any contemporary organic rock-type sound in a performance situation, on stage. In addition, I also have a range of guitar emulators – such as the Fractal Axe-FXII – that allowed me to bypass the use of any guitar amplifiers, and go directly into a venue’s PA system, exponentially expanding the music and sonic palette I could access.

Live rig_20160131.jpg

Figure IV – Live rig (Page 2016e)
However, psychedelic rock music was more complex, with multiple textures and layers that occurred often simultaneously. Was my rig in its current form going to be sufficient? Whats more, if I did create psychedelic-based music in my studio – with multiple textures and layers – using my wide range of digital virtual devices complex, how could I effectively and efficiently reproduce these in a live performance context? Perhaps I needed to develop my current studio technology, expanding my current quite limited studio rig of outboard processors.

Studio rig_20160131.jpg

Figure V – Studio rig (Page 2016f)
I needed to research and consider pieces of equipment that will complement what I currently have, and what I need to fuse my performance and recording of my craft, avoiding a valley or void between the two very important aspects of my music-making practice…..  two aspects that have not met before: stage and studio equipment. I decided that what I didn’t want to do was, was create a studio album that I could not then easily replicate in a live performance. I had always been a performer, and to be able to perform congruently to my recording was a major motivator for me as an artist.
I was clearly invested in this pre-production stage of the music-making process. I needed to consider how I was going to approach the production and what equipment I would use for best effect. It was obvious to me how necessary it was for me to continue to immerse my self in two ways: the sourcing of more textural artifacts discussing the recording techniques in that era (books – The Beatles, Pink Floyd, articles on Molly Meldrum, etc); and also researching a range of equipment that I acquire, that would supplement the equipment I already had, that could more effectively replicate the sounds of psychedelic rock, that I could add to my performance rig. Yes, I desired a rig that I could effectively roll from my studio, onto a stage; and once that performance was complete, to then roll the same rig from the stage, back into the studio. It was my goal to be able to replicate all aspects of my musical and sonic creations in any of my performance locations – on stage, or in a studio.
onion-layers
Footnotes
[1] There are countless testimonies heralding the desired qualities and characteristics of analogue devices across decades of music and sound equipment, and cultural production reviews. However, three more recent acclaimed cultural productions detailing the historical significance of such devices and production workflows are: Ryan & Kehew’s 2006 book “Recording the Beatles: the studio equipment and techniques used to create their classic albums”; Guggenheim’s 2009 “It Might Get Loud” starring Led Zeppelin’s Jimmy Page, U2’s The Edge and The White Stripes’ Jack White; and Grohl, Monroe and Young’s 2013 documentary “Sound City” about a Los Angeles studio during the 1970’s and 1980’s where a number of East Coast artists had hits with records recorded and produced at the facility. These artists included Buckingham and Nicks, Rick Springfield, Fleetwood Mac, and Tom Petty and the Heartbreakers.
onion-layers
This blog series is planned to continue next month with Doctoral Pilot Study Part 3a (Page 2016g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Gallagher, Mitch. 2012. “Studio legends: Alan Parsons on “Dark Side of the Moon”. Accessed 4th February, 2016. http://www.premierguitar.com/articles/Studio_Legends_Alan_Parsons_on_Dark_Side_of_the_Moon.
Grohl, Dave, Mark Monroe and Neil Young. 2013. Sound city. Sony Music Entertainment. DVD.
Guggenheim, Davis. 2009. It might get loud. Sony Pictures Classics. DVD.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017. Figure II – 5th Observation image courtesy of David L Page Created 10th June, 2017
Page, David L. 2016g. Doctoral Pilot Study – Part 3a Accessed 5th March, 2016
Page, David L. 2016e. Figure V – Studio rig image courtesy of David L Page. Accessed 29th February, 2016
Page, David L. 2016e. Figure IV – Live rig image courtesy of David L Page. Accessed 29th February, 2016
Page, David L. 2016d. Figure III – 3rd Party Plug-Ins by Manufacturer image courtesy of David L Page. Created 29th February, 2016
Page, David L. 2016c. Doctoral Pilot Study iNotes Accessed 29th February, 2016
Page, David L. 2016b. Figure I – Praxis v5a image courtesy of David L Page. Created 31st January, 2016
Page, David L. 2016a. Doctoral Pilot Study – Part 2b Accessed 17th February, 2016
Page, David L. 2014 image courtesy of David L Page Created 15th December, 2014
Practice image courtesy of David L Page Accessed 4th February, 2016
Price, Andy. 2015. “The Making of Pink Floyd’s Dark Side of the Moon.” Article. Accessed Feb 4 2016. http://www.musictech.net/2015/06/landmark-productions-pink-floyd-the-dark-side-of-the-moon.
Psychedelic Rock image courtesy of Ultimate Guitar.com  Accessed 5th February 2016
Ryan, Kevin and Brian Kehew. 2006. Recording the Beatles: the studio equipment and techniques used to create their classic albums. London: Curvebender.
– @David L Page 29/02/2016
– updated @David L Page 05/03/2016
– 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.

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