This presentation represents a progress report for Project 2 in my Doctorate of Creative Industry (Music & Sound) research study. For additional information, please see www.davidlintonpage.com

1. 1
Name: David L Page
Student Number: n2401681
QUT DCI
Research Study
Supervisory team
Primary Supervisor: Dr Gavin Carfoot (QUT)
Secondary Mentor Supervisor: Professor Andy Arthurs (QUT)
QUT Creative Industries Faculty
Project 1 commenced 2nd January 2016
Project 2 Research Study Progress Report
Due date: July 16th, 2018
v:DLP20180717_v184

2. 2
Project Methodology
• A practice-led interpretive research study
• experiential phenomenological - I must experience activities in life -
“being-in-the-world” (Grace and Ajjawi 2010, 198)
• experiential phenomenologists - less interested in the philosophy
of phenomenological method than its practice and application
• an auto-ethnography methodology to study my own practice,
describing the socio-cultural activities and patterns.
• Multi-methodological approach
o Arts practice as research (Sullivan, 2010)
o Action research (Borgdorff 2011)
o Reflective and reflective practice (Ryan 2014, Archer 2010)

3. 3
12 months ago, I shared this:

4. 4
2017 Research Study Title:
Contemporary DIY music practice and the
practitioner self
Near-end Project 1 Outcomes
• Exegesis
• Creation of knowledge
o V9 Praxis
o 20 part series of SE memory narratives
o Experimental sound objects/events
samples of associative memory
o Holistic Model of Authentic Practice
v:DLP20180713_v184 FULL

5. 5
Research Question:
why I felt a connection with one form of music-
making (acoustic instrument-based), and not a
connection with a newer form of contemporary music
and sound-making (digital virtual-based)?
Research Aims:
• Investigate to gain clarity as to my DIY music practice, and my self as a practitioner
during the process of creating and producing a cultural artifact (EP).
• Investigate the six (6) elements identified in my Project Brief of: self, motive,
musical style, technology, location, and workflow; and answer the question - Is
there a relationship between them?
• Sub-question: (how) does practice inform self, and
self inform practice?

6. 6

7. 7
Near-end Project 1 finding – 8 Stages and 22 Elements of DLP’s Music Praxis v9i
Self
Motive to practice
Music Style
Technology
Site
Holistic Work Practice
Performance
Stage
Post-production
Stage
Distribution
Stage
Production
Stage
Pre-production
Stage
Listening
Reflective Practice
Music Practice
Compositional
Approach
Social
Network
Time Opportunity
Creative Stage
Reflexive Practice
Theme
Song Mood
Decision
to Start CP
Music Production
Approach
Reference Track
Simple vs Complex Textures
Micro Workflow
Aesthetic Choice
Everyday Stage
Decision to Act
Composition/
Songwriting Stage

8. 8
Significant conceptual development
This Praxis represents a significant
conceptual development from
previous versions of Praxis, where I
was considering Praxis in a linear,
systematic form

9. 9
Mid-Project 1 report 2016:
What I found when I analysed the
examples I have just presented to you,
self was almost always the starting point
of my practice. And instead of a
sequential relationship, there was a more of
a cyclical traversing of the elements, with
several of the elements occurring at
multiple times over the course of the
creative stage of Practice. Most certainly
the practice highlighted an inextricable
link between self and music practice.
11 interdependent elements now
integrated into Music Praxis v5
• Listening
• Self
• Reflection
• Motive
• Songwriting/Compositional Approach
• Musical Style
• Location
• Time Opportunity
• Technology
• Workflow
• Social network

10. 10
v:DLP20180713_v184 FULL

11. 11
Holistic Model of Sustainable Authentic Practice

12. 12
I now share this:

13. 13
2018 Research Study Title:
Sounds that resonate…
Developing sustainable authentic
contemporary DIY creative practice
Expected Project 2 Outcomes
• Exegesis
• Creation of knowledge
o 20 part series of SE memory narratives
o 15 min associative memory soundtrack
o Approaches to practice chart
o Developmental models of agency
o Holistic Model of Authentic Practice
v:DLP20180713_v184 FULL

14. 14
Mid - Project 2 approach
Performance Stage
Production Stage
High Arts-based
Electroacoustic &
Sonic Arts-based
3 Approaches to Music & Sound-making practice
Musicking
Learning Stage
Composition
Stage
Pre-Production Stage
Post-Production Stage
Distribution Stage
Consumption
Stage
Everyday Stage
Roots-based
Creative Stage
Focus on 4 of 10
Stages of practice

15. 15
Research Question:
why I felt a connection with one form of music-
making (acoustic instrument-based), and not a
connection with a newer form of contemporary music
and sound-making (digital virtual-based)?
Research Aims:
• Investigating approaches to contemporary music-making practice across
three (3) axes: creative practice-making, meaning-making, self-making
• Focusing on the stages of learning, composition, production and
consumption (listening)
• Specifically: hybridity, agency, and subjectivity

16. 16
Research Interpretations:
Agency
Functional agency.....
• Technical and extra-technical agency
• In practice skills,
• on practice skills
Faculty agency.....
• Rational and extra-rational agency
• Biological, Psychological, Cognitive
• Affect

17. 17
Research Interpretations:
• Subjectivity and agency in contemporary life, segueing into creative practice;
• Propose a holistic approach to contemporary DIY music and sound-making
practice, in order to understand the broadening subjective position of the
practitioner and practitioner self.
• Within the context of convergent contemporary practice, I argue practitioners
require broader technical and extra-technical functional agency;
• With their practitioner self relying more on rational and extra-rational
faculties agency, than was required previously.
• A synergistic outcome of a practitioner self with developed functional and
faculty agency is; practitioners are afforded the opportunity to authentically
connect to their desired creative practice in a sustainable consistent manner,
irrespective of the approach to music and sound-making practice, the
practice environment, the stages or the elements of praxis.

18. 18
Research Interpretations:
Hybridity
of Approaches to Music & Sound-Making
• Developmental
of Methodological approaches
• Developmental
within practice, multi-modality (mediums)
• Developmental
Meaning-making (learning)
• Developmental

19. 19
Sullivan’s Visual Framework (2010)

20. 20
Research Interpretations:
Subjectivity
Self (Ewen 2003, Kegan 1982, Budd 1992)
• Humanistic approach (Rogers, Maslow), acknowledging
contemporary view of the interdependency of
environmental, social & cultural influence on self
Dialogical self (Salgado & Hermans 2009, Hermans & Geiser 2012,
Wiley 2010, 2016)
• Multiple i-Positions
• Multiple i-voices
Psychophysiological Response (Larsen et al 2008, Stets & Turner
2008)
• Emotion & Heartrate

21. 21
Significant Events: Faculty (psychophysiological) responses of affect
(emotion), across a series of associated memories of significant events

22. 22
Research potential output?
A model integrating all 3 axes:
Practice-making,
Meaning-making,
Self-making
That is, that of:
Hybridity,
Agency,
Subjectivity

23. 23
Recommended areas of focus for practitioners:
Technical & Extra-technical functional agency.....
Develop discipline specific required agency.....
Extra-rational faculty agency.....
Be creatively curious...... and engage in imaginal play.....
Experiment....... :)
Rational faculty agency.....
Developing one's routine expertise for the self-referential purpose of
increasing one's self-understanding, self-awareness and self-acceptance
proactively ever-developing one's holistic agency across multiple-I
positions, and through multiple-I voices...
The holistic outcome....
The holistic outcome of sustained self-referential activity is...
Developed, sustainable authentic practice

24. 24
Holistic Model of Sustainable Authentic Practice

25. 25
My DCI Project 1 Research Study: Selected Bibliography
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.
Bartlett, Brydie-Leigh and Carolyn Ellis. 2009. Music ethnographies: making auto-
ethnography sing - making music personal. Bowen Hills: Australian Academic Press.
Bartleet, Brydie-Leigh. 2009. "Behind the baton: Exploring autoethnographic writing in a
musical context." Journal of Contemporary Ethnography 38 (6): 713-733.
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.
Boud, David and Nicky (Ed.) Solomon. 2001. Work-based learning: a new higher education,
The Society of Research into Higher Education. Philadelphia: The Society of Research into
Higher Education & Open University Press.
Boud, David, Rosemary Keogh and David Walker. 2013. Reflection: turning experience into
learning. New York: Routledge.

26. 26
My DCI Project 1 Research Study: Selected Bibliography
Bowie, David http://www.brainyquote.com/quotes/quotes/d/davidbowie384309.html Accessed 5th
June 2016
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.
Budd, Malcolm. 1992. Music and the emotions: the philosophical theories. London: Routledge.
Burgess, Richard James. 2013. The art of music production: the theory and practice. New York:
Oxford University Press.
Davidson, Jane W. 2015. "Practice-based music research: lessons from a researcher's personal
history." In Artistic Practice as research in music: theory, criticism, practice, edited by Mine
Dogantan-Dack, 93-106. Surrey: Ashgate Publishing, Ltd.
Davidson, Jane W. 2004. The music practitioner: research for the music performer, teacher and
listener. Aldershot: Ashgate.
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.

27. 27
My DCI Project 1 Research Study: Selected Bibliography
DeSouza, Mariane L, Amanda DaSilveira and William B Gomes. 2008. "Verbalized inner speech
and the expressiveness of self-consciousness." Qualitative Research in Psychology 5 (2):
154-170.
Ewen, Robert. 2003. An introduction to theories of personality. 6th ed. New Jersey: Psychology
Press.
Ferry, Natalie M. and Jovita M. Ross-Gordon. 1998. "An Inquiry into Schön's Epistemology of
Practice: Exploring Links between Experience and Reflective Practice." Adult Education Quarterly
48 (2): 98-112. doi: 10.1177/074171369804800205.
Ghaye, Tony and Sue Lillyman. 2014. Reflection: Principles and practices for healthcare
professionals 2nd edition. Vol. 1: Andrews UK Limited.
Ghaye, Tony and Sue Lillyman. 2006. Learning journals and critical incidents: reflective practice
for health care professionals. London: Mark Allwn Publishing.
Ghaye, Tony, Sue Lillyman and Dave Gillespie. 2000. Empowerment through reflection: The
narratives of healthcare professionals. London: Quay Books.
Grace, S and R Ajjawi. 2010. "Phenomenological research: understanding human phenomena."
In Researching Practice: a discourse on qualitative methodologies. Rotterdam: Sense Publishers,
edited by J Higgs, N Cherry, R Macklin and R Ajjawi, 197-208. Rotterdam: Sense Publisher.
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.

28. 28
My DCI Project 1 Research Study: Selected Bibliography
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.
Hermans, Hubert JM. 2012. "Dialogical Self Theory and the increasing multiplicity of I‐positions in
a globalizing society: An introduction." New directions for child and adolescent development 2012
(137): 1-21.
Hermans, Hubert JM and Thorsten Gieser. 2012. Handbook of dialogical self theory. Cambridge:
Cambridge University Press.
Hesmondhalgh, David. 2013. Why music matters. Vol. 1. West Sussex, UK: Wiley Blackwell.
Holmes, Thom. 2012. Electronic and experimental music: technology, music, and culture. 4th ed.
New York: Routledge.
Juslin, Patrik N and Daniel Västfjäll. 2008. "Emotional responses to music: The need to consider
underlying mechanisms." Behavioral and brain sciences 31 (05): 559-575.
Kegan, Robert. 1982. The evolving self: problem and process in human development. 1st ed.
Cambridge, Massachusetts: Harvard University Press.
Landy, Leigh. 2007. Understanding the art of sound organisation. London: The MIT Press.

29. 29
My DCI Project 1 Research Study: Selected Bibliography
Larson, Kay. 2012. Where the heart beats: John Cage, Zen Buddhism, and the inner life of artists.
London: Penguin.
Larsen, Jeff T, Gary G Berntson and Kirsten Poehlmann. 2010. "The psychopysiology of
emotion." In Handbook of Emotions, edited by Michael Lewis, Jeannette M Haviland-Jones and
Barrett Lisa Feldman, 180-195. New York: The Guildford Press.
Leavy, Patricia. 2015. Method meets art: arts-based research practice. New York: The Guildford
Press.
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
Pace, Steven. 2012. "Writing the self into research using grounded theory analytic strategies in
autoethnography." TEXT Special Issue Website Series 13.
Page, David L. 2017. David L Page Wordpress.com site
https://davidlintonpagedotcom.wordpress.com Accessed 8th June 2017
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

30. 30
My DCI Project 1 Research Study: Selected Bibliography
Porpora, Douglas V, Wesley Shumar and MS Archer. 2010. "Self talk and self reflection."
Conversations about reflexivity: 206-220.
Ryan, Mary Elizabeth. 2014. "Reflective practice in the arts." In Literacy in the Arts, edited by G
Barton, 77-90. London: Springer.
Salgado, João and Hubert JM Hermans. 2009. "The return of subjectivity: from a multiplicity of
selves to the dialogical self." Sensoria: A Journal of Mind, Brain & Culture 1 (1): 3-13.
Small, Christopher. 1998. Musicking: the meanings of performing and listening. Hanover:
University Press of New England.
Stets, Jan E and Jonathon H Turner. 2010. "The sociology of emotions." In Handbook of
Emotions, edited by Michael Lewis, Jeannette M Haviland-Jones and Barrett Lisa Feldman,
32-46: The Guildford Press.
Sullivan, Graeme. 2010. Art practice as research: inquiry in visual arts. New York: Sage.
Webber, Colin. 2009. "In music and in life: confronting the self through auto-ethnography." In
Music ethnographies: making auto-ethnography sing - making music personal, edited by Brydie-
Leigh Bartlett and Carolyn Ellis, 261-273. Bowen Hills: Australian Academic Press
Wiley, Norbert. 2016. Inner speech and the dialogical self. Philadelphia: Temple University Press.
Wiley, Norbert. 2010. "Inner speech and agency." In Conversations about reflexivity, edited by
Margaret S. Archer, 17-38. New York: Routledge