This document provides details of David Page's mid-project report for his doctoral research study titled "Contemporary DIY music practice and the practitioner self". The report summarizes his investigation of the relationship between six elements of his DIY music practice - self, motive, listening, technology, time/opportunity, and location. It describes how reflective practice helped him develop a deeper understanding of the interdependent relationship between these elements and how they integrate into the different stages of his music praxis. The report outlines next steps to further develop and add to the literature on artistic research methodology and reflective practice.

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
Project 1 commenced 2nd January 2016
Mid-Project 1 Research Study Progress Report
Due date: June 10th, 2016
v:DLP20160610_0.86 BRIEF

2. 2
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

3. 3
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

4. 4
A Practice-led Research Study Project
Practice

5. 5
Dave Page, DL,
AE Project Studio
David L Page
Creative Practitioner
My Research Study Project
Practice

6. 6

7. 7
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

8. 8
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)

9. 9
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:

10. 10
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
Listening
Reflective
& Reflexive
Practice
Music Practice
Songwriting/
Compositional
Approach
Social
Network Time
Opportunity

11. 11

12. 12
My DCI Project 1 Research Study to date:
Further examples of practice:
• listening

13. 13
Following forensic reflection :
• “The Real Thing” released in 1969
• Paul and Linda McCartney released a
45rpm “Uncle Albert/Admiral Halsey” in
1971.

14. 14
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

15. 15
My DCI Project 1 Research Study to date:
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’

16. 16
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

17. 17
My DCI Project 1 Research Study:
in Music Praxis v4
• my practice
• motive
• reflection of self
• sequential relationship
between the 3 elements

18. 18
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

19. 19
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
Listening
Reflective
& Reflexive
Practice
Music Practice
Songwriting/
Compositional
Approach
Social
Network
Time
Opportunity

20. 20
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

21. 21
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.

22. 22
My DCI Project 1 Research Study: References
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.

23. 23
My DCI Project 1 Research Study: References
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.