The document is the first chapter of my Doctorate in Creative Industries [Queensland University of Technology, Brisbane Australia] mid-Project 1 Research Study report - Chapter 1 Autobiography

1. 1
Name: David L Page
Student Number: n2401681
Research Study Title:
Contemporary DIY music practice and
the practitioner self
Supervisory team
Primary 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 Faculty
Submitted for assessment in KKP622
Mid-Project 1 Research Study Progress Report
Due date: June 10th, 2016
v:DLP2016005_0.76.Autobiography

2. 2
Keywords:
DIY music practice auto-ethnography reflective practice reflexive practice
cultural production self motive music styles location technology
workflow songwriting/composition analogue technologies
digital technologies digital virtual environment social network
Question:
In contemporary DIY music practice, what effect does motive and creative
technologies have on creative productions?
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 artifact (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 mid-Project 1
research study progress report I narrate the process to date, highlighting what I have
observed about my practitioner self, and my music practice. Whilst not conclusive at
this stage, I present the key distinctions that have emerged, integrating them into my
developing music praxis (v5).

3. 3
Mid-Project 1 Research Study Progress Report:
1. Autobiography

4. 4
David L Page
Engineering
David L Page
Management
& Corporate
Governance
David L Page
Educator
Dave Page,
DL,
AE Project
Studio
David L Page
Creative Artist
I have had a diverse professional life
across a number of industries:
• Automotive Engineering
• Education
• Management & Corporate Governance
• Creative Arts
I have formally studied these disciplines,
with post-compulsory education
qualifications in:
• Automotive Engineering
• Bachelor of Business
• Diploma in Corporate Governance/
Company Director
• Master of Education
• Graduate Certificate in Education
• Diploma in Sound Production
• currently pursuing a
Doctorate of Creative Industries,
focused in Music and Sound

5. 5
Dave Page,
DL,
AE Project
Studio
David L Page
Creative Artist
A central thread
throughout my life,
irrespective of age,
money or location
has always been:
creative arts -
specifically music-based
practice

6. 6
Dave Page,
DL,
AE Project
Studio
David L Page
Creative Artist
I have practiced music for over
four decades in multiple social
and cultural contexts, and in
significantly contrasting creative
locations, such as:
a church choir singer, musician,
songwriter, teacher, band
member, producer, commercial
songwriter, manager, solo artist,
musician for hire, band leader,
stage manager, artist coach,
engineer (live and studio), and
most recently an Electronic Music
Producer and educator.

7. 7
Due to the ill health of my mother and her
need for many medical operations over an
extended period, I lived in a very dark
house for the first seven (7) years on my
life. With the curtains and blinds drawn shut
the majority of the time, and bedrooms
doors closed, I mostly only remember
darkness during this time.
Other memories include sitting in a very
tense environment, fearful we would be
reprimanded for talking out of turn, and
disturbing my mother, and; being sat in
front of a television screen for hours on end
as a way of occupying my attention. To this
day, the cartoon Mighty Mouse is at the
forefront of my memories.

8. 8
I recall having the sense that my world was
a remote place - perhaps on an island - and
the main people I knew at that time were
my brother, sister and father. I recall many
people - relatives, such as grandparents,
aunts and uncles and more distant relatives
- came and went during that time, assisting
my father with daily duties such as
preparing meals, I guess cleaning and our
care. I certainly do not recall life in our
house.
As I grew somewhat, I recall spending time
exploring the local bushland with my
brother and some of the local
neighbourhood kids, or my mates from
junior rugby. I however do recall that I was
happiest in my own company, constructing
things and becoming quite rowdy,
exercising my unlimited bounds of energy
and exploring my voice.

9. 9
Then at the age of eight (8) years old, once my mother had somewhat
recovered from her health issues, we moved into a new house in a new
suburb on the North Shore of Sydney. The split-level house had its’
main living area on the top floor – bedroom, living room and kitchen -
with the garages, laundry, rumpus room and bar kitchen on the ground
floor. The blinds and curtains in our new house were literally pulled
back. It was a large light and airy house with a large leafy garden,
including a massive willow tree in the middle of it. It was a huge garden
for an eight year old to exercise and explore, ride his scooter, yell and
sing as he continued to explore his voice to his heart’s content, away
from disturbing the family.
The sea change included my mother playing what became her daily
dose of European classical music – Baroque, Classical and Romantic
(including Opera). In addition, my mother loved the pop artists of that
era: those who performed on the television program of the day,
“Bandstand”. In that era, it was one of the few opportunities to view the
latest contemporary artists and hits on television. Whilst I still did not
feel as though I belonged to anything – to my new school, my new
rugby team, or the local neighbourhood kids - my world now had light
and music in it.

10. 10
Two of my earliest memories of
embracing music were:
• A song released in 1969 that had a
significant influence on my music
practice in my formative years was
“The Real Thing” written by Johnny
Young, performed by Russell Morris,
produced by Ian ‘Molly’ Meldrum.
• Paul and Linda McCartney released
a 45rpm “Uncle Albert/Admiral
Halsey” in 1971. On the B side was
the song “Too Many People”. It was a
single off their first studio album
“Ram” after the Beatles had officially
disbanded as a group.

11. 11
“Uncle Albert/Admiral Halsey” 45 rpm single:
I bought the 45rpm record “Uncle Albert/Admiral Halsey” as an eleven year old
(11) kid, now living in the converted rumpus room on the ground floor of our
new house. I had set up the room with low lighting – lots of lamps around the
corners of the room, each with different coloured cellophane projecting up onto
the walls. There were usually two or three candles burning, borrowed from my
parents many dinner parties, adding to the subdued ambient lighting.
Posters of pop culture icons of the day from the local music rag GoSet adorned
my walls, beckoning me down a particular path. My grandfather’s pianola stood
at the foot of my bed; alongside an old radio gramophone that blasted out my
collection of 45rpms and am radio station hits for many hours of the day. Whilst
I loved the sound of the pianola, I found the keyboard quite complex to
understand, and I therefore gravitated to the guitar with its’ seemingly more
simple playability of chord shapes.
I had friends, but with a very protective mother, and living immediately behind
my local school, I found I spent a considerable amount of time in my
constructed sanctuary. It was my haven where I immersed myself in music
practice.

12. 12
“Uncle Albert/Admiral Halsey” 45 rpm single (contd):
I got a Labrador cross for my eleventh birthday. She and I became inseparable
over the next five (5) years. People laughed at the fact that her coat colouring
was similar to my skin complexion – fair with freckles.
[insert Trixie photo] & [insert room photo]
She usually lay on my bed, often with one eye open observing my music
practice: as I tinkered on the ivories listening to the notes sing out, intrigued I
recall with how they varied depending on how hard I struck the keys; varying
depending on which piano foot pedal I was holding down; listening to the
resonance within the rosewood wooden cabinet after the piano key hammer
had come to rest on a particular string; immersing myself within a production
such as “Uncle Albert/Admiral Halsey”, full of wonder, joy and intrigue listening
to the cacophony of music and sonic textures play out in time; and
trying to strum out chords on my acoustic guitar along to “Too Many People”;
or mimicking live performance by standing behind my father’s camera tripod,
mounted with a bicycle horn on top as my pretend microphone, strumming
away to songs playing on the radio gramophone.

13. 13
In 1971 I brought an album and spent hours
listening repeatedly to it, pouring over every
aspect of the album cover and the liner notes. I
also bought the guitar book, and spent a
number of years learning all of the songs:
• Cat Stevens released
“Tea For The Tillerman”
Then in 1972 my brother brought another album
home I would go on and spend hours after
school listening to it repeatedly, also pouring
over every aspect of the album cover and the
liner notes:
• Neil Young released
“Harvest”

14. 14
Then in 1973 two (2) albums were released that
I would spend hours after school over the next
two years listening on my dad’s B&O stereo
system, while pouring over every aspect of the
album covers and the liner notes:
• Pink Floyd released
“Dark Side of the Moon”
• Elton John released
“Goodbye Yellow Brick Road”

15. 15
Exploring
Philosophies –
trying to make
sense of my
place within life
From prose, I started experimenting with songwriting –
confessional singer-songwriter style/torch songs (inclusive of
social & political commentary), solo and band arrangements
1975 - 1989
Dylan, Baez,
Young, Cockburn
Two of my first scratch recordings on
tape (unfortunately tape deteriorated and this
audio file is all that could be salvaged)..
Songwriter: DLP
Artist: DLP
Engineer: DLP
Producer: DLP
Young, Springsteen,
Cougar-Mellencamp
1980 -
1975 -
1984 1985
‘New Existentialism’ = Phenomenology
One of our first
recordings on
tape (tape
deteriorated and
this audio file is
all that could be
salvaged)
Songwriter: DLP
Artist: Nama
Engineer: Maeda
Producer: DLP
1987-1989
Experimental phase
Band Production
Buckley,
Burrito Brothers
1977 -
Cold Chisel,
Midnight Oil
1979 -

16. 16
6:00pm December 1979 (my first heartbreak)
© David L Page 1991
1. The door is pushed open, ever so slightly
And that familiar nose enters in from afar
I scream as I catch the sight
“How dare you keep punishing me?” I start
“Don’t you realize I’m the one in pain,
Not you. Why do you keep torturing me?” I cried
2. The familiar
thud, thud, thud
against the wood surrounds
extends to the entrance desk
as she comes in
slightly cowering
with that ever inquisitive touch.
3. “What are ya doing here..?
Go back to where you belong
how dare ya drag my heart,
keep dragging my heart around?”
4. Her head dropped a little lower
confused
with what’s in front
“You know we love each other,” she cried
“So can’t we work it out?”
5. My mum heard the pain
exploding from within
she raced to my side
and yelled, and yelled, and yelled,
and yelled for me to “just stop it please!”
6. At the same time
my Dad’s face
came around the arch
another inquisition
non-understanding
at my reaction to this person I love
7. So with my parents standing by
we faced each other off
her head was still cowering, not understanding
I dropped to me knees in pain
she cried, she cried, she cried,
she cried for me again
8. My parents cut their heart out
and placed it by the door
Someone had to leave my love away
I had strength,
no more
In my sanctuary, my haven, I started writing prose in an attempt to make sense of my world.
This process has continued ever since, allowing me to maintain a great historical record of my
thoughts, feelings and observations over about four (4) decades…..

17. 17
One of our first recordings on tape
(tape deteriorated and this
audio file is all that could be salvaged)..
Songwriter: DLP
Artist: Nama
Engineer: Maeda
Producer: Co-produced by DLP, DL, TH
1987 - 1989

18. 18
1987 - 1989

19. 19
1990 - 2006

20. 20

21. 21
Experimenting in DAW
with virtual technology
to create originals by
‘myself’
EMP Course
2009
If...
INSTITUTE
This is to certify that
David Page
has fulfilled the requirements for
CERTIFICATE III
in Music Industry
(Technical Production)
CUS30201
'
.....?j:..... .. ... .. ..
Eme rofessor Zbys Klich
Vice-President (Academic) Managing Director
-
The qualification certified herein is recognised within
the Australian Qualifications Framework and is issued
under authority of the NSW Vocational Educational
Training Act 2005.
SAE NaUOIaJ PlOYIdet CocJe. 0273
(;AiCOS PrOYlIle, Codes'
" 1 VIC: 020478 WA 0243 E
Studied at:
SAE Institute Australia
Cert. No.
AU6010
Date of issue
Experimental productions in
Logic Pro
Acid City 2011
Soul Slammin' 2008
Running Thru 2008
Break Of Day 2007
Brave Nu World 2010
Termination 2009

22. 22
2009 - 2012

23. 23
2011
AE Project Studio ‘site’ focus:
Pre-Production, Production & Post-Production
2012
2013
2013
2014

24. 24
I returned to
Brisbane in 2013
and was appointed
Senior Lecturer at
the Higher Education
Creative Media
Institute SAE QANTM
in 2013

25. 25
Motivated by this role, I developed my Social Media site network to integrate my
diverse professional personas – mediums to curate and engage with the
public….

26. 26
I decided on a central theme for my social network that was based on my
philosophy of life:
Life is about the moment ….. all things fluid……. experiencing the moment…
listening, observing, interacting, laughing, loving, enJOYing, soaking the moment in,
digesting it, considering it, reflecting …. expressing ones’ being, streaming ones’
consciousness. While in the moment, everything appears suspended – almost in slow
motion – and yet is still very much part of life and moving somewhere…
Education is about learning to learn, developing and expressing … often
introspectively, learning about oneself, our boundaries, beliefs, values, languaging,
thoughts, & feelings ….. discovering & then developing our voice ……. who we are
and how we fit into the universe…
Music and audio for me is the sum of both life and education. Songwriting,
composing, recording, arranging, mixing, and performing is about being in the
moment ….. being fluid ……. and yet also, learning, developing and expressing
myself…… discovering & then developing MY voice ……
– David L Page 20/09/2014

27. 27
Logo to bring all of my professional personas together
David L Page
Educator, mentor, songwriter, musician and engineer…

28. 28
Dave Page,
DL,
AE Project
Studio
David L Page
Creative Artist
I continue to practice music on a
daily basis: engaging physical
instruments, digital technologies,
digital virtual technologies, or in
the research, analysis, or listening
to diverse music styles.
I engage in music practice for a
range of motives, drawing on
multiple compositional
approaches, a range of
technologies, and as a result, use
multiple locations and workflows.

29. 29
Dave Page,
DL,
AE Project
Studio
David L Page
Creative Artist
It is worth noting, my definition of music
practice is broad. I embrace a broad definition
of music practice as espoused by Small
(1998), DeNora (2000), Wallis (2001), DeNora
(2005) and Hesmondhalgh (2013).
My music practice currently includes:
• the preparation for and teaching audio at a
higher education institute,
• a variety of contracted music projects from
tracking to mixing, and
• examining my music practice through this
doctoral research study.

30. 30
DL
(Secondary Site)
AE Studio Projects
(Primary Site)
David L Page
(Primary &
Secondary Site)

31. 31
My Music Practice Activities are:
David L Page
Writer
David L Page
Composer/
Songwriter
David L Page
Audio Industry
DL
Instrument
Musician
AE Studio
Projects
Music
Production
AE, DL,
David L Page
Music Practitioner

32. 32
Doctoral study focus
2015 - Experimenting with:
• Analogue outboard gear
• Alternative tracking
options
• Virtual Instruments
• Sample Libraries
• Virtual Arranging
• Blended/hybrid workflows
• Varied music styles
• Orchestration
Tracking

33. 33
Expanded Practitioner
Dave Page, DL,
AE Project Studio
David L Page
Music Practitioner
My Research Study Project 1
5 Stages of Creative Practice
Creative, Pre-Production, Production, Post-Production and Distribution Stages of Practice

34. 34
Dave Page,
DL,
AE Project
Studio
David L Page
Creative Artist
As noted, the one thread that has woven
through my life, irrespective of age, money
or location, has always been: creative arts -
specifically, music practice. It started with
music appreciation, prose and then
songwriting. I then picked up a guitar which
became my primary instrument for
songwriting.
Merely saying music is an integral part of
my life I believe understates the importance
of it for me. Music has been the one
constant in my life, central to my being,
accompanying me wherever I am,
irrespective of whether I am physically
playing, listening or internally listening via
memory. Irrespective of the location,
circumstance or event, music is within me.
Music practice is not a choice for me; it is a
necessity.

35. 35
Doctor of Creative Industries Research Project 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 artifact (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 mid-Project 1 research study progress report I narrate the
process to date, highlighting what I have observed about my
practitioner self, and my music practice. Whilst not conclusive at this
stage, I present the key distinctions that have emerged, integrating
them into my developing music praxis (v5).

36. 36
Doctor of Creative Industries Research Project:
References
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.
Hesmondhalgh, David. 2013. Why music matters. Vol. 1. West
Sussex, UK: Wiley Blackwell.
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.