‘BEYOND “MESEARCH”: AUTOETHNOGRAPHY, SELF-REFLEXIVITY, AND PERSONAL EXPERIENCE AS ACADEMIC RESEARCH IN MUSIC STUDIES’
Institute of Musical Research (IMR) Study Day
in association with the School of Advanced Study, University of London
16-17 April 2018, Senate House, London
*NB This event has now been expanded to a two-day conference*
Provisional Programme: https://christopherwiley.files.wordpress.com/2017/03/imr-conference-programme-provisional-16-17-04-18.pdf
Keynote Speakers: Professor Neil Heyde (Royal Academy of Music, London); Professor Darla Crispin (Norwegian Academy of Music, Oslo); Ian Pace (City, University of London)
CFP: deadline for submissions 12 January 2018
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 (e.g. Etherington, 2004; Chang, 2008), has come at a critical time for the discipline of music. In the UK, the expectation of the Research Excellence Framework (REF) that creative practice outputs will be contextualised through an accompanying commentary signals the urgency for establishing scholarly structures suited to the discussion of one’s own work by performers, composers, and music technologists alike.
The recent inauguration of the Teaching Excellence Framework (TEF), meanwhile, places a renewed emphasis on pedagogic research, for which autoethnography will increasingly prove to be critical in facilitating discourse on individual teachers’ experiences, in anticipation of the upcoming subject pilot for TEF and discipline-level evaluation being implemented more widely thereafter. As a methodology, autoethnography also yields enormous breadth of potential elsewhere in music studies, with the capacity to support academic enquiry encompassing individual experiences as listener or concert-goer, habits and modes of music consumption, and conduct as fans or aficionados.
While autoethnographic approaches have received significant application to the discipline of music internationally, for instance in Australia (Bartleet & Ellis, 2009) and the US (Manovski, 2014), this study day aims to raise its visibility at such a timely juncture in the UK. It will thereby consolidate the seminal contributions made by isolated studies in areas such as music education (Wiley & Franklin, 2017; Kinchin & Wiley, 2017), sonic arts (Findlay-Walsh, 2018), and composition and performance (Armstrong & Desbruslais, 2014). It also offers significant opportunity to initiate dialogue with academic fields as disparate as the social sciences, education, and health studies, in which autoethnography is more substantively practised.
At the same time, this study day will bring together composers, performers, musicologists, and music teachers, seeking to explore different modes of autoethnography with a view to establishing an analytical vein in continuation of previous work undertaken within music studies (e.g. Bartleet & Ellis, 2009). With an emphasis on transcending the production of so-called ‘mesearch’ – work that merely draws upon the author’s autobiographical description in an academic context – the event will cultivate modes of engagement in music research that enable scholar-practitioners at all levels to locate their experiences within a robust intellectual framework as well as to articulate their relationship to wider sociocultural contexts.
CALL FOR PARTICIPATION
20-minute papers (plus 10 minutes for questions) are invited on any aspect relevant to the study day’s themes.
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 12 January 2018 to Christopher Wiley, email@example.com (enquiries to the same address). Decisions will be communicated to speakers by 5 February 2018.
The registration fee will be £20 per person (reduced rates of £10 available for students/the unwaged), including lunch and refreshments. A limited number of bursaries will be offered to students/the unwaged to offset travel costs, up to a maximum of £60 each.
Organising Committee: Christopher Wiley (University of Surrey, Chair), Iain Findlay-Walsh (University of Glasgow), Tom Armstrong (University of Surrey)
Study Day Supporters: Institute of Musical Research, in association with the School of Advanced Study, University of London, Senate House (funding supplied by Nick Baker)
Further information: Dr Christopher Wiley (University of Surrey): firstname.lastname@example.org