Routledge Companion to Music, Autoethnography, and Reflexivity [Hardback]

Introduction
1. Is there a place for storytelling in academia? Autoethnography,
a/r/tography, and arts-based practice in music studies
Christopher Wiley (University of Surrey, UK) and Peter Gouzouasis (University
of British Columbia, Canada)

PART 1: HISTORICAL AND CRITICAL PERSPECTIVES
2. The Mirror and the Lamp: Personal reflection as a source of
illumination or self-dazzlement in research
Darla Crispin (Norwegian Academy of Music, Oslo)

3. Liberating marginalia and navigating the self: Conversations with
curiosities from musical appreciation across a century of literature
Charlotte Purkis (University of Winchester, UK)

4. Autoethnography, the Academy, and the Limits of Musical Self-Knowledge

Peter Tregear (Melbourne Conservatorium of Music, University of Melbourne,
Australia)

5. Cutting my Voice: Reflections on (re)authoring myself as an academic
writer
Esther Cavett (Kings College London, UK)

6. Identifying a non-linear approach to the investigation of practice-led
research in music
Bartosz Szafranski (London College of Music, University of West London, UK)

PART 2: CORE ISSUES AND NEW APPROACHES PERFORMANCE
7. Self-Promotion, Institutional Recognition, and Critical Performance:
A Sceptical Performer-Scholars Sortie into Autoethnography
Ian Pace (City, University of London, UK)

8. Music performance and flow from me to we/you: Implications and impact
beyond me-search
Pedro S. Boia (CIPEM/INET-md, Porto Polytechnic, Porto, Portugal)

9. An autoethnographic approach to early vocal recordings and
late-nineteenth-century singing treatises
Barbara Gentili (Royal College of Music, London, UK)

10. From first-person autoethnographic research to the second-person
position in consciousness studies: A case study of György Ligetis Three
Pieces for Two Pianos
Victoria Tzotzkova (Massachusetts Institute of Technology, USA)

11. Foucauldian heterotopias in electroacoustic music: A flautists
perspective on intercultural performance spaces
Jean Penny (Federation University Australia)

12. Thats perfect, lets do it again: Autoethnography and Performance in
the vocal booth
Rod Davies (Monash University, Australia)

13. A conductors autoethnography of interpretive process
Bede Williams (University of St Andrews, UK)

14. Semi-staging Written On Skin: an experiment in the doubleness of
lived experience and unfolding performative invention
Benjamin Davis (Cardiff University, UK)

PART 3: CORE ISSUES AND NEW APPROACHES COMPOSITION AND CREATIVE PRACTICE
15. Between incontrovertible truth and specious subjectivity: How composers
write about their music
Christopher Leedham (Leeds College of Music, UK) and Martin Scheuregger
(University of Lincoln, UK)

16. The creative process as a narrative
Martin Parker Dixon (University of Glasgow, UK)

17. Knowledge Wissenschaft Composition
Nigel McBride (Independent Scholar, Belfast, UK)

18. the bond between: An investigation into collaborative cultural
exchange
Alice Barron (University of Oxford, UK)

19. Teaching songwriting and creativity: The value of autoethnography as
remedy to the limitations of quantitative research
Clive Harrison (Australian Institute of Music, Sydney)

PART 4: CORE ISSUES AND NEW APPROACHES PEDAGOGY
20. Autoethnography and the conservatoire-based teacher-performer
Stephanie Oatridge and Louise Jackson (Trinity Laban, London, UK)

21. How did we learn to create this performance? A tutor models student
reflective practice
Monica Esslin-Peard (University of Liverpool, UK)

22. The Autoethnographic Musician: Using the Therapeutic Arts model of
reflective practice to improve student wellbeing
James Williams (University of Derby, UK)

23. (Re)writing the Social, Cultural, and Political Contexts of Musical
Actions
Peter Gouzouasis and Matthew Yanko (University of British Colombia, Canada)

24. Framing the musicians experience through theatre-based research
Matthew Yanko, Danny Bakan, Karen V. Lee, and Peter Gouzouasis (University of
British Colombia, Canada)

25. From Research-led Teaching to Teaching-led Research: An
autoethnographic enquiry into keeping curricula contemporary in higher
education popular music
Christopher Wiley (University of Surrey, UK)

PART 5: CORE ISSUES AND NEW APPROACHES CULTURAL AND CONTEXTUAL MUSIC
STUDIES
26. Using Autoethnography to Link Performance, Performance-Led, and
Historical Research
Verica Grmusa (Institute of Musical Research, London, UK)

27. Theorising the position of the researchers self and family through a
postcolonial lens in a music-historical study
Yuiko Asaba (Royal Holloway, University of London, UK)

28. Reflections on autoethnography as a tool to enhance understanding of
steelpan music
Charissa Granger (Erasmus University Rotterdam, The Netherlands)

29. Thumbprints on the Paintwork: Analysing The Fall from a fans
perspective(s)
Iain Findlay-Walsh (University of Glasgow, UK)

PART 6: FUTURE DEBATES
30. Mind the gaps: responding to new challenges for the doctorate in
performance and composition
Neil Heyde (Royal Academy of Music, London, UK)

31. i believe A composers journey into the unspeakable
Zane Zalis (University of Manitoba, Canada)

32. Songwriting and/as research: Perambulography as an autoethnographic
practice
Simon E. Poole (University of Chester, UK)

33. Performance and spoken word: creative expression as reflective process

Ros Hawley (School of Oriental and African Studies, University of London, UK)


34. quasi una fantasmagoria, Op. 120, No. 2.. (2002, rev. 2018)
Ian Pace (City, University of London, UK)

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.