Autoethnography, Autobiography, and Creative Art as Academic Research in Music Studies: A Fugal Ethnodrama

C. Wiley
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引用次数: 2

Abstract

Constructed broadly according to the principles of musical fugue, this piece of creative writing is presented as a performance autoethnography, enacted through a multi-voiced ethnodrama between a fictionalized version of the author and two imaginary doctoral students. In successive episodes, it discusses the difference between autoethnography and autobiography, the value and limitations of single-subject ethnographic study, and the types of materials that constitute valid documentation for the purposes of autoethnography, including creative writing based on music-theoretical devices as well as musical works themselves, in addition to more conventional modes of discourse. These dialogic interludes are articulated by periodic returns to the principal subject of the conversation: the working definition of autoethnography and its potential application to Arts-Based Educational Research (ABER) with specific respect to music studies.
音乐研究中的自我民族志、自传与创作艺术:一部赋格的民族剧
根据音乐赋格的基本原则,这篇创造性的作品以一种表演的自我民族志的形式呈现,通过虚构版本的作者和两个虚构的博士生之间的多声音民族戏剧来实现。在连续的章节中,它讨论了自我民族志和自传之间的区别,单一主题民族志研究的价值和局限性,以及构成自我民族志目的有效文献的材料类型,包括基于音乐理论设备的创造性写作以及音乐作品本身,以及更传统的话语模式。这些对话的间歇是通过定期返回到对话的主要主题来表达的:自我民族志的工作定义及其在以艺术为基础的教育研究(ABER)中的潜在应用,具体涉及音乐研究。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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审稿时长
28 weeks
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