By Brydie-Leigh Bartleet, Visit Amazon's Carolyn Ellis Page, search results, Learn about Author Central, Carolyn Ellis,
Autoethnography is an autobiographical style that connects the non-public to the cultural, social, and political. often written within the first-person voice, autoethnographic paintings looks in various artistic codecs; for instance, brief tales, track compositions, poetry, photographic essays, and reflective journals. track Autoethnographies explores an intersection of autoethnographic ways with reviews of track. Written during the eyes, ears, feelings, studies and tales of song and autoethnography practitioners, this edited assortment showcases how autoethnography can extend musicians' understanding in their practices, and the way musicians can extend the artistic and inventive chances of autoethnography. The chapters during this ground-breaking quantity stand independently as “musical strains” inside of themselves, and characterize a various diversity of inventive, performative, pedagogical and examine contexts. whilst learn jointly, they shape a “harmonious counterpoint,” with universal issues and features, in addition to contrasting rhythms and textures. jointly those chapters produce a compelling tale that indicates how tune can encourage autoethnography to sing, and the way autoethnography can encourage musicians to mirror at the own points of tune construction and production.
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Extra info for Music Autoethnographies: Making Autoethnography Sing/Making Music Personal
The chapters stand independently as musical lines within themselves, but also are interconnected in a harmonious counterpoint. While they share many common themes and contours, they also provide contrasting rhythms and textures. Combined they produce an intricate and illuminating story that shows how music can inspire autoethnography to sing, and how autoethnography can inspire musicians to reflect on the personal. Acknowledgments Carolyn wishes to thank Arthur Bochner, with whom some of the ideas in this chapter were co-constructed in other published pieces, as well as the many creative and musically talented students and colleagues who have energised her over the years.
Torch singing: Performing resistance and desire from Billie Holiday to Edith Piaf. Walnut Creet, CA: Altamira Press. Jenoure, T. (2002). Sweeping the temple: A performance collage. In C. Bagley & M. B. ), Dancing the data (pp. 73–89). New York: Peter Lang. Kisliuk, M. (1997). (Un)doing fieldwork: Sharing songs, sharing lives. In T. J. Cooley & G. F. ), Shadows in the field: New perspectives for fieldwork in ethnomusicology (pp. 23–44). New York: Oxford University Press. Knowles, J. , & Cole, A.
The answer to David’s dilemma, of “what to do or say” is partly ontological as Andrew Sparkes and Brett Smith (2008) clarify: “Ontological narratives are used to define who we are: this in turn is a precondition for knowing what to do” (p. 300). In opening the preceding story, David began by sharing an ontological narrative with the reader: “I wrote my first song … long before I wrote my first research paper”. He then links who he is (a songwriter-scholar) with what he does: “Songwriting has been a way through which I have explored my self, my experiences and relationships”.
Music Autoethnographies: Making Autoethnography Sing/Making Music Personal by Brydie-Leigh Bartleet, Visit Amazon's Carolyn Ellis Page, search results, Learn about Author Central, Carolyn Ellis,