Surmounting the Skepticism: Developing a Research-Creation Methodology

Q4 Arts and Humanities
Greg Bruce
{"title":"Surmounting the Skepticism: Developing a Research-Creation Methodology","authors":"Greg Bruce","doi":"10.37522/aaav.109.2023.162","DOIUrl":null,"url":null,"abstract":"This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a “feedback saxophone” system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) “How is creative practice research?” and (2) “What methods are appropriate for carrying out my creative practice as research?” In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge gener- ation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research “compass” to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own “problem-practice-exegesis” approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":"9 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Acta Academiae Artium Vilnensis","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.37522/aaav.109.2023.162","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0

Abstract

This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a “feedback saxophone” system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) “How is creative practice research?” and (2) “What methods are appropriate for carrying out my creative practice as research?” In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge gener- ation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research “compass” to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own “problem-practice-exegesis” approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond.
超越怀疑论:发展一种研究创造方法论
我是多伦多大学音乐艺术博士候选人,写这篇论文是为了帮助解决多伦多大学研究创造的脆弱地位。在那里,我设计了一个“反馈萨克斯管”系统,我将男中音萨克斯管与各种麦克风和扬声器结合起来,以鼓励和控制声学反馈。多伦多大学的DMA项目被归类为专业项目,所以我把论文的中心放在萨克斯实践反馈上的前提遭到了一些健康的质疑。这并不是因为它被视为无趣,而是因为创造性实践通常不被认为是论文写作研究的合理形式。因此,为了支持研究创造作为一种合法的学术探究形式,并为我自己的音乐研究建立一个模型,我的目标是回答两个问题,只要它们与我的研究创造项目有关:(1)“创造性实践研究是如何进行的?”(2)“什么方法适合作为研究来进行我的创造性实践?”在回答第一个问题时,我从文献中得出结论,证明研究创造是一种补充传统调查模式的知识生成形式。在此之后,我考察了不同类别的研究-创造,并在音乐研究“指南针”上说明它们,以促进比较和理解。为了回答第二个问题,我讨论了两种相关的研究-创造方法,并将它们结合起来构建我自己的“问题-实践-训诂”方法。最后,我详细说明了我是如何使用这种方法进行研究的。通过这项工作,我努力为那些有兴趣将他们的创作实践与论文写作结合起来的研究生艺术家研究人员提供一个实用的模型,并为加拿大研究生音乐课程及其他领域的研究创作的验证做出贡献。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
求助全文
约1分钟内获得全文 求助全文
来源期刊
Acta Academiae Artium Vilnensis
Acta Academiae Artium Vilnensis Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.10
自引率
0.00%
发文量
10
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信