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Embodied Research Through Music Composition and Evocative Life-Writing: Disrupting Diaspora examines how attendance to the lived experience of diaspora can impact our scholarly understanding of the term. Through the entanglements between her life and practice as a music composer, British Iranian author Soosan Lolavar weaves together a uniquely embodied approach to academic discussions, enriched by both her personal narrative and music. This book powerfully argues for the unique contribution of ways of knowing that are palpably understood through the body. Lolavar scrutinises the ways that the metaphor of diaspora has left indelible marks on her life and work, exploring these through the narrative presented in this book and publically available recordings of her music. This process allows her to construct new theoretical conceptions of diaspora which bring nuance and detail to a concept used widely across the humanities and social sciences. Disrupting Diaspora presents a map for transdisciplinary work which triangulates artistic practice, theory and evocative life-writing in lively and reflexive ways. In so doing, it contributes to a growing field of embodied scholarly work. This book is primarily written for an academic audience with interests in embodied research methods, diaspora studies, practice-as-research in general and creative research in music composition in particular. It will be suitable for students in the disciplines of music studies, music composition, sociology, communications, creative writing, anthropology and human geography.
Evocative Qualitative Inquiry explores academic research that evokes vitality and life. It provides a road map into integrating the personal with professional to engage in intrinsically meaningful forms of inquiry. The book centers on the key considerations of engaging in evocative forms of writing in the academy. It depicts academic inquiry as an embodied process that is captured and understood through rhythm and resonance. It relays how pleasurable, sensory, and rhythmic forms of inquiry can engender a sense of timelessness, expansiveness, growth, and generativity. Evocative Qualitative Inquiry relates the challenges that may arise from following this less trodden academic inquiry path. It conveys the importance of faith and courage in forging one’s own unique and authentic writing voice. The book concludes with an analogy of a poker game to illustrate how all academic writers possess the embodied capacity to write vibrant words that evoke. Finally, each chapter ends with reflection questions and activities to help readers practice the skills of writing evocatively. This book will be a valuable guide for those seeking evocative writing techniques to engage in vibrant forms of academic research. It is primarily written for academics who desire to learn more about creative, poetic, and embodied writing methodologies.
The Routledge International Handbook of Practice-Based Research presents a cohesive framework with which to conduct practice-based research or to support, manage and supervise practice-based researchers. It has been written with an inclusive approach, with the intention of presenting deep and meaningful knowledge for the benefit of all readers. This handbook has been designed to present specific detail of practice-based research by outlining its shared traits with all forms of research and to highlight its core distinguishing features into a cohesive, principled and methodical approach. To this end, the handbook is presented in five sections: 1. Practice-Based Research, 2. Knowledge, 3. Method, 4. The Practice-Based PhD and 5. Practitioner Voices. Each section begins with a leading chapter that outlines each of the distinct areas as they relate to practice-based research. This is followed by a series of contributing chapters that discuss pertinent themes in more detail. Practitioners from a broad range of backgrounds will find these chapters helpful: research students or final year graduates will be introduced to the principled nature of practice-based research PhD researchers embarking on a research project or are in the flow of research will find this guidance supportive professionals such as designers, makers, engineers, artists and creative technologists wishing to strengthen their research into their practice will be guided through the principled and focused nature of practice-based research supervisors, managers and policy makers will benefit from the potential and rigour of practice-based researchers in the pursuit of new knowledge.
This book provides an accessible comprehensive exploration of phenomenological theory and research methods and is geared specifically to the needs of therapists and other health care professionals. An accessible exploration of an increasingly popular qualitative research methodology Explains phenomenological concepts and how they are applied to different stages of the research process and to topics relevant to therapy practice Provides practical examples throughout
Performing Folk Songs is the first full-length volume to explore English folk singing from the perspective of performance studies. Using archival sources, family repertoire and recorded performances of interviewees, this book argues that archives and repertoires are produced in sensory environments and through embodied encounters. Autoethnography, sensory ethnography, life-writing and landscape writing are used to explore the affective and emotional aspects of learning songs 'by heart'. Drawing on her experience as a folk singer, Bennett contributes to discourse on English folk traditions in the 21st century and brings performance scholarship to the contemporary folk song resurgence. In analyzing the performance of English folk songs in the affective context of the archive and the landscape, the book engages with and contributes original insights to scholarship on folk music, performance studies, affect theory, cultural geography and intangible cultural heritage studies.
Brimming with examples, this book demonstrates how qualitative researchers can use autoethnography as a method for qualitative research. Topics include a brief history of autoethnography; the purposes and practices of doing autoethnography; interpreting, analyzing, and representing personal experience; and evaluating autoethnographic work.
For faculty to advance their careers in higher education, publishing is essential. A competitive marketplace, strict research standards, and scrupulous tenure committees are all challenges academicians face in publishing their research and achieving tenure at their institutions. The Handbook of Research on Scholarly Publishing and Research Methods assists researchers in navigating the field of scholarly publishing through a careful analysis of multidisciplinary research topics and recent trends in the industry. With its broad, practical focus, this handbook is of particular use to researchers, scholars, professors, graduate students, and librarians.
The Oxford Handbook of Music Making and Leisure presents myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. Looking beyond the obvious, this handbook asks readers to consider anew, "What might we see when we think of music making as leisure?"
What is musical time? Where is it manifested? How does it enter into our experience, and how do we capture it in our analyses? A compelling approach among works on temporality, phenomenology, and the ecologies of the new sound worlds, Enacting Musical Time argues that musical time is itself the site of the interaction between musical sounds and a situated, embodied listener, created by the moving bodies of participants engaged in musical activities. Author Mariusz Kozak describes musical time as something that emerges when the listener enacts her implicit knowledge about "how music goes," from deliberate inactivity, to such simple actions as tapping her foot in time with the beat, to dancing in a way that engages her entire body. Kozak explores this idea in the context of modernist and postmodernist musical styles, where composers create unfamiliar and idiosyncratic temporal experiences, blur the line between spectatorship and participation, and challenge conventional notions of form. Basing his discussion on the phenomenology of Merleau-Ponty and on the ecological psychology of J. J. Gibson, Kozak examines different aspects of musical structure through the lens of embodied cognition and what phenomenologists call "lived time." A bold new theory derived from an unprecedented fusion of research perspectives, Enacting Musical Time will engage scholars across a range of disciplines, from music theory, music cognition, cognitive science, continental philosophy, and social anthropology.