Module 2 Proposal of Research Method and Justification• Factors affecting Improvisation (Bailey,...

PostgraduateCertificateinResearchPractice

Module2ProposalofResearchMethodandJustification

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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

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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

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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

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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.

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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

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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)

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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

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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.

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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

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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

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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.

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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.


• 09.2015–05.2016

Composeandperformanumberofworksfocusingonboththeinterdisciplinarynatureof

myresearchprojectandtheparticipatoryelement.ContextualisefindingsoftheNoise

Choirwithinconventionalchoralsettings.Piecesforvoicesandimproviserperformedat

theFrontiersfestival,CoMA/BCGMfestival,TheSpottedDog(participatorywork).

Criticalreflectiontodirectnextcourseofstudy.Criticalreflectiontodirectnextcourseof

study.

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• 09.2015–05.2016

Contextualisedmassedextendedvocaltechniquesforsingersandnon-singerspecialists

withinanensembleconfiguration.AGlancetotheSkytoCounttheStars,commissionedby

ConservatoireJuniorDepartmentforOrchestra,ChoirandJazzEnsemble.Tobepremiered

25.06.2016.


• 04.2016–11.2016

Applycompositionalfindingswithinasmallensembleof4singersand2improvisers.

TenderButtons:commissionedbyHuddersfieldContemporaryMusicFestival,tobe

premiered11.2016withThomasStronen.


• 09.2016–09.2017

Preparatorycompositionalexperimentationfocussedonframingvoiceswithvarying

ensembleconfigurations.

Formalisationandcollationofmassedextendedvocaltechniques.


• 09.2017–09.2018

Formalisationofuniversalnotationsystem.


• 09.2020–09.2021

Accompanyingnarrativewriteup.


• 06.2021–09.2021

Writeconclusionandrecommendations.

Submit.

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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]

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