1st Edition
The Routledge Companion to Music, Autoethnography, and Reflexivity
The Routledge Companion to Music, Autoethnography, and Reflexivity represents a substantial contribution to the field of writing reflexively about an individual’s practice within music studies. In seven sections, 22 original chapters by a diverse set of contributors consider writing about personal activities from the points of view of performance, composition, musicology, and pedagogy, drawing on a range of traditions from Western art-music to popular music to ethnomusicology. A robust critical framework is presented, with coverage of:
- historical and critical perspectives
- different methodologies and their ascendancy within the academy
- leading debates, issues, and approaches
- future directions
The Companion cultivates new modes of engagement in music research, enabling scholars and practitioners at all levels to identify and articulate their relationship to the wider sociocultural contexts in which they operate.
INTRODUCTION
1. Music, autoethnography, and reflexivity: An introductory conversation
Peter Gouzouasis and Christopher Wiley
PART 1: INSTRUMENTAL PERFORMANCE
2. Experiencing the Karnatic Violin: Knowing in the hands
Alice Barron
3. Performing intercultural music for flute and electronics: Reflections on heterotopian (s)p(l)ace
Jean Penny
4. A conductor’s autoethnography of interpretive process
Bede Williams
PART II: VOCAL PERFORMANCE
5. An autoethnographic approach to understanding early vocal recordings and late nineteenth-century singing treatises
Barbara Gentili
6. An autoethnography of performance in the vocal booth
Rod Davies
7. Semi-staging Written On Skin: An experiment in the “doubleness” of lived experience and unfolding performative invention
Benjamin Davis
8. A cautionary tale of the health and well-being of college music students
Matthew Yanko
PART III: COMPOSITION AND CREATIVE PRACTICE
9. Notes to self: How composers write about their music
Christopher Leedham and Martin Scheuregger
10. The “self” particle: A time traveller’s account of how one doctorate in music composition would have benefitted from a better awareness of autoethnography
Bartosz Szafranski
11. A performative autoethnography of the oratorios I Believe and Nostos: Composing music, words, and worlds
Zane Zalis
PART IV: PEDAGOGY
12. How did we learn to create this performance? A tutor models student reflective practice
Monica Esslin-Peard
13. An autoethnography of designing an undergraduate music module on Adele’s 25 album
Christopher Wiley
14. “Mind the gaps”: Exploring models for positioning the researcher in doctorates in music performance
Sarah Callis and Neil Heyde
15. A piano mismatch: Passion, dreams, and being a “good boy”
David Lines
PART V: CULTURAL AND CONTEXTUAL MUSIC STUDIES
16. Jammin’ “under one groove”: An autoethnographic steelband love story
Charissa Granger
17. An autoethnographic approach to linking performance, practice research, and historical research
Verica Grmuša
18. Thumbprints on the paintwork: On autoethnography and fandom in the music of Mark E. Smith and The Fall
Iain Findlay-Walsh
19. 1000 days project: An a/r/tographic inquiry of hospital music-making
Rosalind Hawley
PART VI: ART AS AUTOETHNOGRAPHY
20. Advocating a folkloristic disposition in the context of music pedagogy
Simon E. Poole
21. Twilight
Benjamin Bolden
PART VII: CODA: FUTURE CONSIDERATIONS
22. Autoethnography: A reflexive research process
Peter Gouzouasis
Biography
Peter Gouzouasis is a Professor of Music Education in the Department of Curriculum and Pedagogy at The University of British Columbia, Canada.
Christopher Wiley is a Senior Lecturer in Music and Head of Music and Media at the University of Surrey, UK.
