Phase 0 of my Doctorate of Creative Industries Research Study Holistic Model of Authentic Practice – Starting Point
Research Practitioner Series – Part 28d The following represents the formal submission of my Higher Degree Research (HDR) Professional Doctorate Project 1 Document. This 47,000 word (excluding references, bibliography and appendices) document is in many ways equivalent to a traditional PhD Doctoral Program Confirmation Document. The document has been split across 7 blog posts due...
Research Practitioner Series – Part 28c The following represents the formal submission of my Higher Degree Research (HDR) Professional Doctorate Project 1 Document. This 47,000 word (excluding references, bibliography and appendices) document is in many ways equivalent to a traditional PhD Doctoral Program Confirmation Document. The document has been split across 7 blog posts due...
Research Practitioner Series – Part 28b The following represents the formal submission of my Higher Degree Research (HDR) Professional Doctorate Project 1 Document. This 47,000 word (excluding references, bibliography and appendices) document is in many ways equivalent to a traditional PhD Doctoral Program Confirmation Document. The document has been split across 7 blog posts due...
Research Practitioner Series – Part 28a The following represents the formal submission of my Higher Degree Research (HDR) Professional Doctorate Project 1 Document. This 47,000 word (excluding references, bibliography and appendices) document is in many ways equivalent to a traditional PhD Doctoral Program Confirmation Document. The document has been split across 7 blog posts due...
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...
(Page 2014a) This blog is a continuation of a series. See here (Page 2014b) for the previous blog. 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...
In Search of Embodied Practice Self Reflection (2016) Research Practice Continuing on from 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...
This blog is a continuation of a series. See here (Page 2016a) for the previous blog. (Maypole 2018a) Mainstream popular music-making practitioners draw on broader lineage Musical hybridity is prevalent in most approaches to music-making, particularly roots-based approach music. Mainstream music developed out of traditional roots-based forms of music such as blues, country, folk, bluegrass and...
(Paul, 2016) Development of production techniques in mainstream popular music-making The making of mainstream popular music has developed exponentially over the past five (5) decades, in terms of musical style, site (creative location), technology and workflow (Owsinski 2013, Huber and Runstein 2013; Izhaki 2013; Gilreath, 2010). As a flow on from both globalisation and technological...
My journey continues…. (Page 2014) This blog is a continuation of a series. See here (Page 2015a) for the previous blog. Year 2015: 2nd Observation Part k As part of the professional doctorate program I had entered, we were inducted into the world of academic research study. Whilst I was a relative open book in terms...