*The Autoethnography of Composition and the Composition of Autoethnography*
Wednesday 17 June 2020, University of Glasgow
CFP: deadline for submissions 28 February 2020
The advent of autoethnography, a form of qualitative social science
research that combines an author’s narrative self-reflection with
analytical interpretation of the broader contexts in which that individual
operates, holds particular significance for the field of music composition
(broadly conceived). As a model for creative practice, autoethnography has
been adopted by artists and researchers as a means of enfolding critical
reflection upon social, cultural, and political identities and contexts
into creative process and outcomes. It has similarly proven useful to
practice-researchers, who are increasingly expected to produce written
narratives to support and explain their musical creations. In particular,
the expectation of the Research Excellence Framework (REF) that creative
practice outputs will be contextualised through an accompanying commentary
signals the importance of establishing scholarly structures appropriate to
the discussion of one’s own work, a practice to which autoethnography is
well-suited.
Autoethnography has received significant application to the discipline of
music internationally (notably in Bartleet & Ellis 2009, and in the work of
individual scholars such as Peter Gouzouasis and Karen V. Lee), as have
related approaches such as creative analytical practices (Richardson 2000)
and a/r/tography (Springgay, Irwin, Leggo, & Gouzouasis 2008) (a
bibliography is maintained at tinyurl.com/autoethno). This study day aims
to raise the visibility of autoethnography and cognate methodologies at
such a timely juncture in the UK, seeking to bring together composers,
creative practitioners, performers, and musicologists, as well as to
provide significant opportunity to prompt academic dialogue between these
groups. It aspires to cultivate modes of engagement in music that enable
composers of all types and at all levels to locate their practices within a
robust intellectual framework, as well as to articulate their relationship
to wider sociocultural contexts.
Keynote Speakers: to be announced
CALL FOR PARTICIPATION
20-minute papers (plus 10 minutes for questions) are invited on any aspect
relevant to the study day’s themes, including but not limited to the
following:
* self-reflexive approaches to the creation of music, to include
autoethnography;
* music and/as autoethnography (to include related methodologies);
* music composition;
* songwriting and popular music;
* music and creative practice;
* phonography, sound art and sound studies;
* performance as composition (e.g. semi-improvised musics);
* practice-as-research and music;
* music composition pedagogy;
* issues relating to the production of written narratives on music to
contextualise the creation of that music.
Proposals for panels of 3–4 papers (1.5–2 hours) on a closely related topic
are also warmly welcomed, as are proposals for roundtables (3–5
participants, 1 hour duration). The latter should be thematically
integrated and dialogue-based rather than simply a series of unconnected
mini-papers.
Note that papers will be expected to offer some critical self-reflection on
method, and not merely to set out ground covered in an individual’s own
practice. Those that adopt non-traditional formats, or incorporate a
practice-as-research component, will be warmly welcomed.
Abstracts of no more than 300 words should be e-mailed by 28 February 2020
to Iain Findlay-Walsh, [log in to unmask] and Christopher
Wiley, [log in to unmask] (enquiries to the same addresses). Decisions
will be communicated to speakers by 27 March 2020.
The registration fee will be £20 per person (reduced rates of £10 available
for students/the unwaged), including lunch and light refreshments. There
will also be a conference dinner, for which an additional sum will be
payable.
Supported by the University of Glasgow
Further information:
Dr Iain Findlay-Walsh (University of Glasgow):
[log in to unmask]
Dr Christopher Wiley (University of Surrey): [log in to unmask]
*Dr. Iain Findlay-Walsh*
Lecturer in Music
he/him/his
Room 406 - Music, 14 University Gardens
School of Culture and Creative Arts, University of Glasgow
+44 (0)141 330 3517
[log in to unmask]
New release: Klaysstarr - w/hair ph<> n mus|x
<https://entracte.co.uk/projects/klaysstarr-e243/>
New article: Hearing How it Feels to Listen: Perception, embodiment and
first-person field recording
<https://www.cambridge.org/core/journals/organised-sound/article/hearing-how-it-feels-to-listen-perception-embodiment-and-firstperson-field-recording/70AE0325062682F891DBAA2059775FC1>
The University of Glasgow, charity number SC004401
########################################################################
To unsubscribe from the MUSICOLOGY-ALL list, click the following link:
https://www.jiscmail.ac.uk/cgi-bin/webadmin?SUBED1=MUSICOLOGY-ALL&A=1
|
