David L Page DCI KKP622 mid Project 1 report.20160610

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Name: David L PageStudent Number: n2401681

Research Study Title: Contemporary DIY music practice and

the practitioner self

Supervisory teamPrimary Supervisor: Dr Gavin Carfoot (QUT)

Secondary Mentor Supervisor: Professor Andy Arthurs (QUT)Industry Mentor: Dr Colin Webber (SAE Institute)

Associate External Supervisor: Dr Jodie Taylor (SAE Institute)

QUT Creative Industries FacultySubmitted for assessment in KKP622

Project 1 commenced 2nd January 2016Mid-Project 1 Research Study Progress Report

Due date: June 10th, 2016

v:DLP20160610_0.86 BRIEF

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Question:In contemporary DIY music practice, how does self inform practice and how does practice inform self?

Research Aim:

•  Investigate to gain clarity as to my DIY music practice

•  Investigate the six (6) elements o  Is there a relationship between them?

•  Create a cultural artifact

•  The gap in the literature from other music practice studies

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Dave Page, DL, AE Project Studio

David L Page

Creative Practitioner

My Music Practice

Practice

Broad definition of music practice

My music practice currently includes:

•  higher education institute

•  contracted music projects

•  doctoral research study.

Irrespective of age, money or location, one central thread:

•  creative arts

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A Practice-led Research Study Project

Practice

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Dave Page, DL, AE Project Studio

David L Page

Creative Practitioner

My Research Study Project

Practice

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Mid-Research Study Project 1 finding

2nd January 2016…….

Initial questions that came to mind:

•  this journey?

•  the dual primary roles?•  •  translate into daily activities along the specified time line?

I don't know where I'm going from here, but I promise it won't be boring. [David Bowie http://www.brainyquote.com/quotes/quotes/d/davidbowie384309.html]

Two reflective practice roles I needed to have in the context of my music practice:

1.  As a reflective practitioner researcher, reflecting on the practice of my art 2.  As a creative practitioner reflecting on my life experiences and observations as an

integral part of my art practice

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Research Stages:

The stages of creation and music production:

•  Creative stage

•  Pre-production stage

•  Production stage

•  Post-production stage

•  Distribution stage•  contrasting to the corporate studio-based large format console studios up until the 1970’s

(Burgess 2013)

•  DIY music practice context - no longer as clear a delineation between these stages (Roger 2013)

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My DCI Project 1 Research Study to date:

An example of practice:

EG1: Practicing guitar:

•  Listening:•  Self: •  Motive:•  Listening:•  Technology:•  Reflective practice: reflection-in-action•  Technology: •  Time Opportunity:•  Location:•  Technology & Workflow:•  Practice Workflow:•  Listening:•  Songwriting/Compositional approach:•  Reflective practice:•  Songwriting/Compositional approach:•  Social Network engagement:

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Mid-Research Study Project 1 findings – Stages and Elements of DLP’s Music Praxis v5

Self

Motive Music Style

Technology

Location

Workflow

Creative Stage

Post-production Stage

Distribution Stage

Production Stage

Pre-production Stage

ListeningReflective & Reflexive Practice

Music Practice

Songwriting/Compositional

Approach

Social Network Time

Opportunity

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Further examples of practice:

•  listening

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Following forensic reflection :

•  “The Real Thing” released in 1969

•  Paul and Linda McCartney released a 45rpm “Uncle Albert/Admiral Halsey” in 1971.

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My DCI Project 1 Research Study to date: I reflected on multiple experiences of practice:

•  listening•  motive

•  songwriting/composition approach

•  music style•  time

•  technology•  location

•  social network

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The most significant understanding:

•  self•  Confronting

•  Charter of Values

•  Gain new levels of understanding, and apply them reflexively

•  Clarity with why motive re my practice, rather than what and how

•  As a result:

•  ‘expanded self’

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Expanded Practitioner Dave Page, DL, AE Project Studio

David L Page

Music Practitioner

More holistic, and balanced practitioner

5 Stages of Creative Practice Creative, Pre-Production, Production, Post-Production and Distribution Stages of Practice

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My DCI Project 1 Research Study:

in Music Praxis v4

•  my practice

•  motive •  reflection of self

•  sequential relationship between the 3 elements

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mid-Project 1 report 2016:

but in Music Praxis v5•  self

•  Music practice •  cyclical traversing

•  inextricable link

11 interdependent elements integrated into Music Praxis v5

•  Listening•  Self

•  Reflection•  Motive

•  Songwriting/Compositional Approach•  Musical Style

•  Location•  Time Opportunity

•  Technology•  Workflow

•  Social network

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Mid-Research Study Project 1 findings – Stages and Elements of DLP’s Music Praxis v5

SelfMotive Music Style Technology

LocationWorkflow

Creative Stage

Post-production Stage

Distribution Stage

Production Stage

Pre-production Stage

ListeningReflective & Reflexive Practice

Music Practice

Songwriting/Compositional

ApproachSocial Network

Time Opportunity

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My DCI Project 1 Research Study: Where to now? •  To refine my DCI Research Question question inline with the developments of my

Project 1

•  Indulge in Project 1

•  To develop understanding of practice

•  To develop my practice

•  DCI Project schedule

•  DCI Research Study Ethics clearance

•  To add to current body of literature across methodology, theory and practice

•  To develop social network engagement

•  To engage in conference papers and articles

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My DCI Project 1 Research Study: 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.

Borgdorff, Henk. 2011. "The production of knowledge in artistic research." In The Routledge companion to research in the arts, edited by M Biggs and H Karlsson, 44-63. London: Routledge.

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.

David Bowie http://www.brainyquote.com/quotes/quotes/d/davidbowie384309.html

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.

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Burgess, Richard James. 2013. The art of music production: the theory and practice. New York: Oxford University Press.

DeNora, Tia. 2000. Music in everyday life. Cambridge: Cambridge University Press. DeNora, Tia. 2005. "The pebble in the pond: Musicing, therapy, community." Nordic Journal of Music Therapy 14 (1): 57-66.

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.

Haseman, B 2015. "Forensic reflective practice: effecting personal and systemic change." Accessed July 1, 2015. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.

Hesmondhalgh, David. 2013. Why music matters. Vol. 1. West Sussex, UK: Wiley Blackwell. McKee, Alan. 2003. Textual analysis: a beginner's guide. London: Sage.

Moorefield, Virgil. 2005. The producer as composer: shaping the sounds of popular music. London: MIT Press.

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Pace, Steven. 2012. "Writing the self into research using grounded theory analytic strategies in autoethnography." TEXT Special Issue Website Series 13.

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

Rogers, I. 2013. "The hobbyist majority and the mainstream fringe: the pathways of independent music-making in Brisbane, Australia." In Redefining mainstream popular music, edited by Sarah Baker, Andy Bennett and Jodie Taylor, 162-173. New York: Routledge. 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.

Small, Christopher. 1998. Musicking: the meanings of performing and listening. Hanover: University Press of New England.

Wallis, R Dr. 2001. "Best practice cases in the music industry and their relevance for government policies in developing countries." Paper presented at the United Conference on Trade and Development, Brussels, Belgium, May 14-20, 2001.