module 2 proposal of research method and justification• factors affecting improvisation (bailey,...
Post on 30-Jul-2020
10 Views
Preview:
TRANSCRIPT
PostgraduateCertificateinResearchPractice
Module2ProposalofResearchMethodandJustification
(AdvisoryWordLimitupto3,500words)
StudentNumber 1 5 1 3 5 2 7 8
Student’sname: PercyPursglove
Faculty: ADM:Conservatoire,Composition
Duedate: 6thMay2016
Declaration:IhavereadandunderstoodtheUniversity’sguidanceonplagiarismandcheating.Bysubmittingthiswork,Iconfirmthatthisassignmentismyownworkandthatitcontainsnounreferencedmaterialfromanothersource.IalsoconfirmthatIhavekeptanelectroniccopyofthisassignmentandwillprovideacopytotheUniversityifrequired.IunderstandthatImaybesubjecttodisciplinaryactionifanallegationofacademicmisconductisupheldinrelationtothisassessment.
Student’ssignature:PercyPursglove
FirstAssessor’scomments(seeseparatesheetforassessmentcriteria)Pleaseindicatethatseparateorcontinuationsheetisattachedifapplicable¨SecondAssessor’scomments(seeseparatesheetforassessmentcriteria)Pleaseindicatethatseparateorcontinuationsheetisattachedifapplicable¨
FirstMarker’ssignature......................................................Date................................Mark………………
SecondMarker’ssignature…………………………………………………Date…………………………….Mark…………….
Themarkrangeisasfollows:0-49%denotesFailor‘Unsatisfactory’standard50-59%denotesPassor‘Satisfactory’standard60-69%denotes‘Commendation’standard70-100%denotes‘Distinction’standard(seeattachedAssessmentCriteriaforbanddescriptors)
*Notethatmarkmaybemoderatedeitherupordownbytheexaminationboard
Provisionalmark
awarded*
2
PostgraduateCertificateinResearchPractice-Arts,DesignandMedia
PercyPursglove
Assignment2-ProposalofResearchMethodandJustification
ResearchTitle:
ExtendingChoralTradition:NewCompositionalLanguageforGeneratingImprovisationalFrameworks
ResearchChallenge
Thisresearchprojectwillengagewiththefollowingquestionsandchallenges:
• Discusstherelationshipbetweencompositionandimprovisation(Braxton,2007)
• Outlinetheinterdisciplinarycomplexitiesofthisproject
• Strategiseanapproachtonotationthatisinclusiveofmusicallytrainedandnon-trained
vocalparticipantsalike
• Howcan(andwhich)extendedvocaltechniques(Glassett,2011/Lee,2015)bestbeapplied
tomassedvoicecontexts?
• Howbestcanthechoralmusictraditioninformthegeneratingofnewcompositional
models?
• Whichcompositionalmechanismsbestcombinetypicalchoralforceswithanon-
conventionalNoiseChoirtoprovidenewimprovisationalframeworks?Therealisationof
onecompositionalconceptnestledwithinanother
• Discusshowhermeneutical,semiologicalandkinesicfactorsinfluencethecompositional
andimprovisationalprocess
3
Aimsoftheresearch
Asaprojectthatstraddlesthetaxonomyofpractice-ledresearchandresearch-ledpractice,itisaxiomatic
that,alongsidetheformingofmyownexperimentalchoir,apreparatorycompositionalcollectionanda
detailedaccompanyingnarrative,theculminationofmyresearchwillresultinthecreationofa
compositionalportfoliotobeperformedinaconcertofnewmusic.Boththecompositionand
improvisationalprocesseswillbechannelledthroughthepracticalfindingsofmyresearchproject.
Therefore,theaimsofmyresearcharereflectiveofthiscurrentlyforecastedoutput:
o Generateanewcompositionalvocabularythatutiliseschoralframeworkstobroadentheinfluentialsphereanddisruptthepreparedauto-schediasticnarrativeoftheimproviser
o FormaNoiseChoir(09.2015)ofpredominantlynon-singersasaforuminwhichtoexperimentwithmassedextendedvocaltechniques(Crump,2008)
o Formaliseanotational(Black,1983)system/systemsforextendedvocaltechniquesthatareofoptimumclarityandaccessibilitytoalldisciplinesofmusiciansandnon-musicians
o Throughaseriesofpreparatorycompositionalstudyworks,identifysuccessfulandaccessiblecompositionaldevicesfromtheparticipantperspective.Identify,fromaself-reflexivestandpoint,thosegenerativedevicesmostinfluentialtotheimproviser
o Throughaseriesofcompositionalworks,examineanumberofpossibleaccompanyingensembleconfigurationsthatbestframethenewlyformalisedvocalcompositionalstrategies,andprovidestableframeworksforimprovisation
o Ateachstageofcompositionalresearchandperformativeexplorations,writeandseektopublishdetailedaccountsoffindings
o Composeandperformaconcertofnewmusicemergingfromandinformedbypracticalresearch
Articulationofthescopeoftheresearchproject
Thisresearchprojectispivotalininformingprogressivebi-partisangenerativecompositionaltechniques
thatdirectlyengagewiththeprocessofimprovisation.Itsmotivationliesintheinterdisciplinaryconjoining
offixedcompositionalstructures(specificallythoseofmassedvoices)alongsidethepreparedauto-
schediasmoftheimprovisationlineage.Thoughconsiderableresearchhasdelvedintoflowstate
(Csikszentmihalyi,2014),empathicintelligence(Arnold,2005/Bresler,2006:36)andpsychological
processesthatoccurduringimprovisationalpractices(Bailey,1993/Wilson,2015/Plack,2005),thisstudyis
approachedfromthepositionofjazzcomposer/performer/researcher.Thisuniquetri-alityoffersanew
perspectiveintacklingnotonlytechnicalperformativeaspectsofcompositionandimprovisation,but
4
vitally;thatofgatheringknowledgefromthestandpointoftheoreticalframeworksincluding:empirical,
‘[…]reflectivepractice,participantobservation,performanceethnography,ethnodrama,
biographical/autobiographical/narrativeenquiryandtheenquirycyclefromactionresearch.’(Haseman,
2006).Thebreadthofthisstudywillspanthechoraltraditiontothepresentday,improvisationalconcepts:
harmonicallyderivedlinearconstructionmethods;extendedtechniques;conduction,notationsystemsand
anexaminationoffindingsthroughabricolageoftheoreticalconceptions.Thisassignmentwillgeneratea
numberofcompositionalartefactsinformedinsymbiosisbyimprovisationalmethodsandinterrogatedby
phenomenologicallyanalysedfindingsthroughanaccompanyingnarrative.Althoughthisisaprojectthatis
focusedonthecreationofnewlyformalisedmusicalmaterials,myresearchmethodswillbelimitedtothe
performativeaspectsofmusicmakinganditsmusicmakersi.e.theperspectiveandexperiencesof
improvisersandchoralparticipants,andnotthoseofthelistener.
Researchcontext
Myareaofresearchisconcernedwithcreatingachoralcompositionallanguageandportfolioofnewwork
shapedindirectionandconceptbythekeyelementofimprovisingwithinnewlyformalisedcompositional
settings.Thoughthereisaconsiderablebodyofworktobuilduponfromthechoraltraditionandalimited
stockofchoralcollaborationsthroughthejazzlineage,thereisadeficitofknowledgeinthedevelopment
ofcompositionaltoolstoenableframeworksformusicalassociationswithimprovisers.
Thismulti-facetedchallengefocussesonthelittleexploredphenomenonofemployingcompositional
devicestoinvokeimprovisationalresponsestomomentsofmusicalindeterminacy,specificallywithinthe
contextofmassedvoices.Thisphenomenoninturncreatesafurtherepiphenomenal(James,2000:128)
outcomeforimproviserswithinthesenewlycreatedtextures.Whilethereissomeacademicdiscussionof
theuseoffracturedcompositionalprocessessuchasaleatorytechniqueswithinthechoraltradition
(Galbreath,2015),myposition,asoutlinedinmyliteraryreview,isthatthespecificityofsuchstructural
compositionaldevicesdoesnotalignwiththetacitmanifestoofimprovisation,whichseesimprovisationas
an‘escapefromtherigidity’(Bailey,1993:84)andformalisationofthesenotatedmethods.
Aconsistentthreadthroughoutthischallengeisareconciliationofdivergentconcepts,acuriousamalgam
oftraditionandcontemporaneity,fixedandindeterminatecompositionaltoolsandtheinterrelated
intertextualityyetopposingcampsofcompositionandimprovisation.Afurtherstrandofconsiderationis
thatofpost-autonomy(Jauss,1972:39),whichdealswiththecollaborativenatureofparticipatorypractice
(Goldenberg,2012).Essentially,thismeanstheimpetusthattheinclusionofnon-professional/non-first
studyvocalparticipantsbringtomassedvocalcontexts.
5
Thetopographyofmyfieldofstudyis,bynecessity,relativelybroad.Underitssurfaceliesa
multidimensional,multifacetedsphereofconsideration.Asaprojectthatishingedaroundpraxis,‘theory
imbricatedwithinpractice’(Nelson,2013:40),itispertinenttocontextualisemyspecialismbyconsidering
issuesconcerningbothpracticalandtheoreticalframeworks.
Thisfieldofstudyissituatedbetweenthedisciplinesofcontemporaryclassicalmusicandjazz,between
compositionandimprovisationandbetweenresearchandpractice.Thisplacesmeinanidealpositionto
addresstheissuesoutlinedinmyprojectaims.Tofocusmyresearchandenablearealandvaluable
contributiontoknowledgeitisimportanttoexplorefullytheextantliteratureconcerningmyparticular
arenaofspecialism.Theseareasinclude:
• Extanttraditionalchoralcompositionalworksandtheirintegralcompositionaltechniques:
Assimilateagroundingintraditionalchoralcompositionandidentifypotentialityof
transferableexistingcompositionaltoolstoimprovisationalcontexts.
• Extantcompositionalworksassociatedwiththejazzcanonutilisingchoralforces:
Identifyandextractexistingmomentsofintertextualitydesignedbyjazzexponents
specificallywithimprovisationalcollaborationinmind.
• Hermeneutics(Heidegger,1927)–notational/semiotical(Nattiez,1990/Dunsby,1983)
considerations:
Methodologicalframeworksfortheinterpretationoftextandsymbols.Directlyapplicable
tovariousstrandsofthisproject:notation,chordsymbols,graphicscoresandthesettingof
texts.
• Performativefactorsofmusicalcommunication–EmbodiedNarrative(Bresler,2006),
EmpathicIntelligence(Arnold,2005),Kinesics(Birdwhistell,1970),Conduction(Stanley,
2009):
ThePerformativeelementsofmusic-makingandthephenomenologicalthreadsof
communicationthatoccurduringtheperformancepracticeprocess.
• Extendedvocaltechniques:EVT’s(Kavash,2015):
Extendedperformancepractices,specificallyEVT’s.Theimpactthispracticecanhaveon
thedevelopmentofimprovisationalframeworkswhenappliedinmassedcontextsanda
6
studyintotheaccessibilityofEVT’stonon-musicians/non-firststudymusicians.Anin-depth
knowledgeoftheinternationalphoneticalphabet(IPA)willinformthisfurther.
• FactorsaffectingImprovisation(Bailey,1993/Berliner,1994)–Psychological(Wilson,2015),
Psychoacoustical(Plack,2005):
Afocusontheactofimprovisationandthefactorsthataffectit,bothfromapsychological
perspective,andspecificallytheeffectthatperceptionofsoundhasontheimprovisational
narrative.
• Phenomenology(Husserl,1900)
Thiscornerofphilosophyisaqualitativeresearchmethodologyconcernedwiththereal
experiencesandconsciousnessofindividuals,inthecaseofthisresearchprojectitwillaid
intheself-reflexivityelementtothisproject.
• Empiricism(Hume,1739)
Thephilosophicaltheorybasedonknowledgederivedfromsensoryexperiences.
Methodology
Thisresearchassignmentisagenre-spanning,multi-dimensional,multi-faceted,cross-disciplinaryproject,
andassuchrequiresthemethodologicalnettobecastwide.Thisbroadmethodologysectionreflectsthe
necessitiesoftheproject.
Asmyexplorationintoresearch-ledpractice/practice-ledresearchprogresses,itbecomesclearerthatthe
uniquenessofmyresearchliesintheinterlockingofthreecorefundamentals:Composition;Writing;
Performance.Eachcomponentinformsthenextstageofitsowndevelopmentandthatofitsneighbour.
Thinkingofthissymbiosisasatri-alityofdivergentyetinterrelatedelementsgivesriseandcauseto
adoptingamultimethodologicalsystemdescribedbyJacquelineTaylorasa‘self-reflexivebricolage’:
‘[…]amixtureofstrategiesthatoverlap,intersectandinterweavewithoneanother.Thisapproach
drawsonthenotionoftheartist-researcherasa‘bricoleur’whoadoptsamulti-methodor
polyvalentapproachtoartpracticeresearch.’(Taylor,2013)
Thismultivalencelayeringofconceptuallyrelevantmaterialsandtheoriescontinuouslyinformingthe
progressionofresearchisbynomeansanewconcept.Bourdieu’sOutlineofaTheoryofPractice(1977)
7
setsoutaclearvisualisationofthisasaperpetuallyspirallingaccretionofknowledgeandtheory,however,
foraresearchprojectsuchasmine,thistwo-dimensionalmethodologicalphilosophycanbebroadened
furthertoopenathirdstreamofPerformativeResearch(Haseman,2006).
Withtheadditionofempiricism(Hume,1739),theOutlineofaTheoryofPracticeoffersastrong
underpinningtothedevelopmentofarobustmethodologicalframeworkhereindefinedasheterosisof
methodologies.Referredtoinsomecasesashybrid-vigour,heterosisisaphraseassimilatedfromscientific
circlesmeaningfortificationthroughhybridisation.Placedbeyondquantitativeandqualitativeresearch
methodologybyHaseman(2006:6),itispositedasPerformativeResearch,‘[a]multi-methodledby
research’.Theeternalself-informativecircularity,whichhasbeenatheoreticalstapleandstable
methodologicalbuildingblockinresearch,issomethingthatissometimesfearedbycreativepractitioners:
‘Creativepractitionershavesometimesarguedthattheorisationordocumentationofthecreative
processriskssubduingthecreativefireorreducingtherangeofresponsestotheirwork.’(Smith
andDean,2011:25)
Thecreativeprocesscanbefuelledanddrivenbymethodicallyconsideredpreparatoryprocesses.Iecho
SmithandDean’spositionoutlinedinPractice-ledResearch,Research-ledPracticeintheCreativeArts
(2011:25)thatinstantaneousuninformedcreationisamythperpetuatedbythoseromanticisingaboutthe
notionofthecreativegenius.Innovationishardwon,requiring:strategy;reflection;manifesto;critical
opinion;criticism;communityand,aboveallelse,acreative,clearandconciserepresentationofideas
focussedthroughthelensofourindividualrealities.
Fromanepistemologicalstance,constructivism(Piaget,1926)offersatheoreticalstreamfromwhichIcan
drawmeaninginformedbytheinteractionwithmyexperiences,inthiscasetheperformativesideof
research,andideasdrawnfromtheoreticalandreflexivestagesofwritingandanalysis.
‘Constructivismisapost-structuralistpsychologicaltheory[…]onethatconstrueslearningasan
interpretive,recursive,non-linearbuildingprocessbyactivelearnersinteractingwiththeir
surround.’(Fosnot,Perry,2005)
Conversationalcross-examinationbetweenoutputsbothcreativeandacademicofferthesurroundingand
buildingblockstodevelopandformastrongresearchassignment.AsAnthonyBraxton(2007)highlights,
compositionandimprovisationarecloselyrelatedpracticesthataremutuallyinformative.Hediscussesthe
relationshipofthesetwopractices,andatheoreticaloppositionofwhathasbecometraditionalinthejazz
lineage:improvisationoccursaftermelodicmaterial.Braxton’spositionisthatimprovisational
performativepracticesleadtoformulasoffixedcompositionalpotentialitiesbeyond.Atfirst,thisconcept
8
ledmetosearchforthelineofseparationbetweenthetwocamps,however,Inowseethatthetwoare
notmutuallyexclusive,andforme,theunderstandingofthistheoryisparamountinthefunctional
developmentofthisproject.Johnston(2015)furtherelucidatesthismatterinhispaper:Constructivism:
TheoristsandtheirTheories:
‘Theconceptofrelationshipofviableorganismsadaptingtotheirenvironmentprovideameansto
reconstructtherelationshipbetweenthecognitivesubjects’conceptualframeworkandthat
subject’sexperimentalworld.’(Johnston,2015)
Tocontextualisethiswithinmyownresearchframework,eachcoreelementof:
Composition/Performance/Writingistobeconstantlyadaptedandreconstructedasareflectionofthe
evolvinglandscape.Astheenvironmentshifts,sointurndoesthefocusofresearch.Therecursivenature
ofthistrioofcoreelementsmeansthateachcompositionandperformativeresearchexperienceleadsto,
anddemandsawrittenresponse,which,inturnquestionsthepreviouscompositionalstancerequiring
furthercompositionalandperformativeinterrogationofnewthefindings.Thisisclearlysetoutin
Costello’s(2003:8)ActionResearchdiagram:
Action Research
Rgure 1.2 An extended action research model.
research can often involve undertaking a single cycle ofplanning, acting, observing and reflecting, it can alsolead to more lengthy and substantial studies within edu-cational settings.
These may be projects that are undertaken as part ofstudy for a research degree, or funded research projectswhere the timescale and scope of the research extendbeyond what is normally possible to teachers conductingsmall-scale classroom-based research. If you wish to com-plete an action research thesis for an MPhil. or PhD, anumber of general and specific texts will be helpful (see,for example, Cryer, 2000; Dick, 1993, 2000; Phillips andPugh, 1987; Salmon, 1992).
A more elaborate action research model is offered byMichael Bassey, whose framework consists of eight stageswhich may be summarized as follow (see Bassey, 1998, pp.94-5 and Robson, 2002, pp. 217-18):
Stage 1: Defining the enquiry.Stage 2: Describing the educational situation.
8
9
Johnstoncontinues:
‘[…]Piagetconceptualisedtheinterplaybetweenindividual’scognitivestructureandthe
knowledgeacquiredfromthesocialworldaspartofanopensystem.Knowledgeandmindare
inseparablebecauseoneaffectstheother.Botharebeingdevelopedfromadialecticalinteraction
betweenthesubjectandtheworldaroundhimorher,includingthesocialworld.’(Johnston,2015)
Thissentimentisindirectalignmentnotonlywiththeneedtocommunicatewiththesocialworldinthe
senseoftheresearchcommunityandthatofqualitativeresearchsubjects,butalsowiththesocialworldas
ametaphorintheperformativesense.One’ssocialworldisanyinteractionalenvironment.Inthecaseof
myresearchsubject,itintersectswithrealmusical/compositionaloutputsandperformativeresearch
experiences.Johnstoncontinuesbyofferingagraphicrepresentationofthisconceptwhichisdescribedas
‘[…]adialecticaltripartitedrawing’:
Fig.1:DialecticalTripartiteDrawing(Johnston,2015)
ThisDeleuzianrhizomaticsketchclearlyrepresentstheconstructivistmodelofsolipsistic/intersubjective
interactivity.Withfurtherspecificityinmind,asimilarmodelcanbeadoptedtoconceptualisemyown
researchproject:
SELF
SYMBOL
OTHERS MEDIUM
10
Fig.2:Myowndiagramtoillustrate:AHeterosisofMethodologies
Thisheterosisofmethodologies,asapractice-basedprojectthathasitsgazefirmlyfixedongeneratingart,
isdesignedtobeanaestheticinquiryaswellasamethodforgatheringintelligence.Akeycontributorto
thisheterosisofmethodologiesnestledwithinpost-autonomyisparticipationpractice.Theprocessof
engagingparticipants:non-trainedmusiciansandnon-firststudysingersintheactofmusicmakingin
massedvocalcontextsnotonlyoffersaninevitableactionresearchangle,particularlythatofparticipant
observation,butinterestinglygivesnewdirectiontothepotentialityoftheartwork.
‘CriticaltoPost-Autonomyisparticipationasamethodology,whichoperatesasacommunicative
gluewithintheartsystem,breakingdownorthodoxcategoriesandhierarchiesofartist,curator,
institution,andaudience.’(Goldenberg,2007/8)
Post-autonomy(Jauss,1977),originallyaresponsetoBarthes(1967)LaMortdel’auteurorDeathofthe
Authorfocussesontheinteractionbetweentextandreaderunderthenotionofreceptiontheory.Bythe
sametoken,theideaofparticipationpracticeinpost-autonomoustermsempowersparticipants,inthe
caseofmyresearch:performingmembersofchoralworksutilisingnewlyformalisedcompositionaldevices,
offeringthemtheimpetustoshapeanddirecttheartwork,orimprovisationalframeworks.Theultimate
aimisthatthehierarchicalclassificationsofcomposer,performerandimproviserarelevelledtoallow
universalaccessibilitythroughcompositionalandnotationalinnovations.
Asatheorydrillingdownintotheinterpretationoftext,Hermeneuticsishighlyrelevantwhendealingwith
thedevelopmentofmusicalnotationsystems.Focusingontheadvancementofsystemsthathavethis
AHeterosisofMethodologies:
Research-ledPracticeInforming
Practice-led Reseach
PerformativeResearch
Constructivism
CompositionalOutput
EmpircismPhenomenology
Epiphenomenology
SelfReflexivity
Hermeneutics/Semiology
AcademicWriting
PostAutonomousParticipatoryPractice
11
universalaccessibility,Iinterprettheword‘text’asspanningdisciplinesandgivingvaliditytostandardised
musicalnotation,extendedvocaltechniquenotationandgraphicscores.However,therealinterestinthis
methodologyliesintheinterpretationofthese‘texts’andthegenerativeconstructivistinterpretationof
thoseinterpretations.Schwandtpositsthisconcept:
‘ForHeideggerandGadamer,thecircularityofinterpretationisnotsimplyamethodologicalprocessor
condition,butalsoanessentialfeatureofallknowledgeandunderstanding[…].’(Schwandt,2001)
Here,Schwandthighlightscyclicalperpetuityofinterpretationandconsideration.Inthiscaserelatingto
text,butinacompositionalsense,broadlyapplicabletopitch,graphicscoresandadvancedmusical
notationschemes.
Althoughthismethodologysectionisbroadinitssphereofconsideration,mytacklingthisprojectfromthe
standpointofaheterosisofmethodologiesmeansthatthesechosenconceptscanbealignedinawaythat
ismutuallycomplementary,givingtheassignmentthenecessaryimpetusandforwardmotiontobea
successfulandthoroughinterrogationofmychosenspecialism.
Outcomes
Thispractice-basedprojectwillgenerateanumberofartefactsinvariousformsofcompositional
preparations,compositionalportfoliosandaglossaryofnewlyformedcompositionaldevicesandtools.
Giventheparticipatorypracticeslantofthisproject,itispertinentformyresearchtoincludeAction
Research(Lewin,1946)alongsidetheself-reflexivephenomenological/empiricalconsiderations.This
reflexiveandactionresearchdatawillbecollected,documentedandanalysedduringtheresearchprocess.
Artefacts:
o Creationandanalysisoftwocompositionalportfolios:Onepreparatorycompositionalcollection,
andoneportfolioofconcertlengthtobeperformedandrecordedforarchivalpurposes.
o Aformalisedlexiconandanalysisofcompositionaltechniquesdevelopedforcollaborationsof
improvisersandchoralforces:bothmusicianandnon-musicianparticipants.
o Accompanyingdocumentationof15,000–30,000wordsoftextualanalysisandcriticalreflection
outliningmyresearchprocessandfindingsateachstage,andhowthesefindingshaveinformed
thedirectionofmyresearch.
12
Thefindingsofthisresearchprojectwillberelevanttoavarietyoffieldsofstudyandtheirrespective
debates:
• Composition:interdisciplinarycollaboration,notation,massedextendedtechnique
• Improvisation:newimprovisationalframeworks,psychoacoustics,psychology,kinesics,
conduction,preparedauto-schediasm
• Musicalmethodsofcommunication:inthemomentempathicresponse
ResearchTimetable
• 09.2015–05.2016
PGCert.
Examinationofextantliterature/scores:Identifyandextractrelevantcompositional
devices/toolsapplicableandtransferabletoimprovisationalframeworks.
ExamineMethodologicalFrameworks.
TheoreticalModelling.
Criticalreflectiontodirectnextcourseofstudy.
• 09.2015–09.2021
TutoringandSupervision.
Formchoirofnon-singers:participationobservation/developmentalexperimentation.
Continualcompositionaloutputinformativeandreflectiveofresearch.
Collateresponses.
Analyseresponses.
Criticalreflectiontodirectnextcourseofstudy.
• 09.2015–05.2016
Composeandperformanumberofworksfocusingonboththeinterdisciplinarynatureof
myresearchprojectandtheparticipatoryelement.ContextualisefindingsoftheNoise
Choirwithinconventionalchoralsettings.Piecesforvoicesandimproviserperformedat
theFrontiersfestival,CoMA/BCGMfestival,TheSpottedDog(participatorywork).
Criticalreflectiontodirectnextcourseofstudy.Criticalreflectiontodirectnextcourseof
study.
13
• 09.2015–05.2016
Contextualisedmassedextendedvocaltechniquesforsingersandnon-singerspecialists
withinanensembleconfiguration.AGlancetotheSkytoCounttheStars,commissionedby
ConservatoireJuniorDepartmentforOrchestra,ChoirandJazzEnsemble.Tobepremiered
25.06.2016.
Criticalreflectiontodirectnextcourseofstudy.
• 04.2016–11.2016
Applycompositionalfindingswithinasmallensembleof4singersand2improvisers.
TenderButtons:commissionedbyHuddersfieldContemporaryMusicFestival,tobe
premiered11.2016withThomasStronen.
Criticalreflectiontodirectnextcourseofstudy.
• 09.2016–09.2017
Preparatorycompositionalexperimentationfocussedonframingvoiceswithvarying
ensembleconfigurations.
Formalisationandcollationofmassedextendedvocaltechniques.
Criticalreflectiontodirectnextcourseofstudy.
• 09.2017–09.2018
Formalisationofuniversalnotationsystem.
Criticalreflectiontodirectnextcourseofstudy.
• 09.2020–09.2021
Accompanyingnarrativewriteup.
Criticalreflectiontodirectnextcourseofstudy.
• 06.2021–09.2021
Writeconclusionandrecommendations.
Submit.
14
EthicalConsiderations
Whilethisaprojectthatispredominantlyself-reflexiveandfocussedonthecreationofcompositional
artefacts,duetoitsinherentneedforcollaborationwithbothparticipantsandmusiciansitisvitalto
considertheethicalpositionofthisresearchprojectinalignmentwiththeUniversity’sethicalcode.
Ethicalconsiderationsforthisprojectinclude:
o Integrityinthehonestandaccuratereportingofdatafindings
o Theacknowledgementofallsourcesandinformantsbothprimaryandsecondary
o Myrolewithintheuniversityasasupervisor/lectureranditsrelationshiptoparticipants
o Considerationofanypotentialphysicalorpsychologicalharmandsensitivitytherequirementsand
expectationsofeachparticipant
o Freeandinformedconsent:clear,welldefinedandoutlinedconsentformshighlightingwhat,how,
whenandwhyIintendtoundertakemychosenresearch
o ParticipantConsentinrelationto:participantresearch,informedconsent,documentingconsent,
protectionofprivacy:anonymity/confidentiality
o Paymentofparticipantsif/whenrequired
o Informationdissemination:intellectualownership,managementofgathereddata,personal
information/contactdetails,accesstogathereddataandthelengthoftimeitiskept
[Maintext:c.3,500words]
15
References
Arnold,Roslyn,2005.EmpathicIntelligence.SydneyAustralia:UniversityofSouthWalesPress.
Bailey,Derek.1993.Improvisation:ItsNatureandpracticeinMusic.SecondEdition.Massachusetts:Da
CapoPress.
Barthes,Roland,1967.LaMortdel’auteur.[onlineresource]Availableat:
<http://www.ubu.com/aspen/aspen5and6/threeEssays.html#barthes>[Accessed12March2016].
Berliner,P.,1994ThinkinginJazz:TheInfiniteArtofImprovisation.Ed.byP.Bohlman,B.Nettl.Chicago:
UniversityofChicagoPress.
Birdwhistell,Ray,L.,1970.KinesicsandContext:EssaysonBodyMotionCommunication.Philadelphia:
UniversityofPennsylvaniaPress.
Black,Robert,1983–1984.ContemporaryNotationandPerformancePractice:ThreeDifficulties
PerspectivesofNewMusic,22(1–2),117–146.
Booth,WayneC.,Colomb,GregoryG.,Williams,JosephM.,2008.TheCraftofResearch,ThirdEdition.
ChicagoPress.
Bourdieu,Pierre,1977.OutlineofaTheoryofPractice.Cambridge:CambridgeUniversityPress.
Braxton,Anthony,2008.AnthonyBraxtonKeynoteAddressattheGuelphFestival,2007.CriticalStudiesin
Improvisation,4(1).
Bresler,Liora,2006.EmbodiedNarrativeInquiry:AMethodologyofConnection.ResearchStudiesinMusic
Education,27,21–43.
Costello,PatrickJ.M.,2003,ActionResearch.London:A&CBlack.
Crump,MelanieAustin,2008,WhenWordsAreNotEnough:TracingtheDevelopmentofExtendedVocal
TechniquesinTwentieth-CenturyAmerica.D.M.A.UniversityofNorthCarolina.
Csikszentmihalyi,Mihaly,2014,FlowandtheFoundationsofPositivePsychology:TheCollectedWorksof
MihalyCsikszentmihalyi.Netherlands:Springer.
Dunsby,Jonathan,1983.MusicandSemiotics:TheNattiezPhase.TheMusicalQuarterly.69(1),27–43.
16
Fosnot,CatherineTwomey,2005.Constrctivism:Theory,PerspectiveandPractice.NewYork:Teachers
CollegePress.
Galbreath,Daniel,2015.Texture,Aleatorism,andMeaninginPostmodernChoralMusic(1963–1976).MUS-
7026DissertationBirminghamCityUniversity.
GlassettMurdoch,Margot,2011.ComposingwithVocalPhysiology:ExtendedVocalTechniqueCategories
andBerios’sSequenzaIII.D.M.A.TheUniversityofUtah.
Goldenberg,David,2008.WhatisParticipatoryPractice[onlineresource]Availableat:
<http://fillip.ca/content/what-is-a-participatory-practice>[Accessed10February2016].
Goldenberg,David,2012.AShortHistoryofPostAutonomy.[onlineresource]Availableat:
<http://www.postautonomy.co.uk/wp-content/uploads/2013/12/shorthistorysmall.pdf>[Accessed20
November2015].
Haseman,Brad,2006.AManifestoforPerformativeResearch.MediaInternationalAustraliaincorporating
CultureandPolicy,themeissue“Practice-ledResearch”,118,98–106.
Heidegger,Martin,1927.SeinUndZeit.Germany:MaxNiemeyerVerlagTubingen.
Hume,David,1896[1739].ATreatiseofHumanNature.Oxford:OxfordClarendonPress.
Husserl,Edmund,2001[1900].LogicalInvestigations.London:Routledge.
James,William,2000.ThePrinciplesofPsychology.NewYork:DoverPress.
Kavash,Deborah,AnIntroductiontoExtendedVocalTechniques:SomeCompositionalAspectsand
PerformanceProblems,[onlineresource]Availableat:<http://www.ex-tempore.org/kavash/kavash.htm>
[Accessed16October2015].
Kuchler,LelandF.,1973.MusiqueConcrèteandAleatory–TwoWaystoRecaptureInterest.Music
Educators’Journal,59(6),42–44.
Lee,Joanna,2015.ExtendedVocalTechniquesandNotation.Dissertation,BirminghamCityUniversity.
Leister,Blake,AListofChoralWorksthatEmployAleatoricTechniques,[onlineresource]Availableat:
<http://www.choralnet.org/view/221758>[Accessed4November2015].
Lewin,Kurt.1946.ActionResearchandMinorityProblems.JournalofSocialIssues,2(4),34–46.
17
Nattiez,Jean-Jacques,1990.MusicandDiscourse:TowardsaSemiologyofMusic.NewJersey:Princeton
Paperbacks.
Nelson,Brandon,2015.ExtendedCompositionTechniquesforChoir[onlineresource]Availableat:
<https://bnelsonmusic.wordpress.com/2012/04/23/extended-composition-techniques-for-choir>
[Accessed2November2015].
Nelson,Robin,2013.PracticeasResearchintheArts:Principles,Protocols,Pedagogies,Resistances.
London:PalgraveMacmillan.
Piaget,Jean,1926.TheLanguageandThoughtoftheChild.London:Routledge&KeganPaul.
Plack,ChristopherJ.,2005.TheSenseofHearing.London:Routledge.
Schwandt,ThomasA.,2001.DictionaryofQualitativeInquiry:SecondEdition.SAGEPublications.
Stanley,Thomas,2009.ButchMorrisandtheArtofConduction,D.M.A.diss.UniversityofMaryland.
Smith,Hazel,RogerDean,2011.Practice-ledResearch,Research-ledPracticeintheCreativeArts.
Edinburgh:EdinburghUniversityPress.
Taylor,Jacqueline,2013.Writing//Painting;l’écriturefeminineanddifferenceinthemaking.PhD
dissertation,BirminghamCityUniversity.
VarietiesofEnglish,InternationalPhoneticAlphabet[onlineresource]Availableat:<http://ic-
migration.webhost.uits.arizona.edu/icfiles/ic/lsp/site/IPA.html>[Accessed12November2015].
Wilson,GrahamB.,RaymondA.R.MacDonald,2015.MusicalChoicesduringGroupFreeImprovisation:A
QualitativePsychologicalInvestigation.Sempre,PsychologyofMusic,34(2),1–15.
top related