What goes on in my mind? Observing melodies in the making
David Myhr
The School of Music at
Luleå University of Technology
www.ltu.se/davidmyhr
www.davidmyhr.com
www.facebook.com/davidmyhr
December 1, 2017
The 12th Art of Record Production Conference
Mono: Stereo: Multi
Hosted by the Royal College of Music, Stockholm, Sweden
Abstract: This paper posits a set of epistemological methods to enable researchers to investigate melody-writing in solo songwriters. Using ethnographic and autoethnographic methods combined with annotated video, I provide examples, from my ongoing research project, of real-time songwriting activities and address the opportunities and challenges of introspection as an investigative method. Sloboda (1985) proposed four possible methods of inquiry by which researchers might investigate composers’ creative processes, one of which is “live” observation of composers at work. Collins (2007) uses a verbal protocol methodology that requires the composer to narrate the evolving composition in real time, which not only interrupts the creative process itself, but risks falling victim to the observation effect. Bennett (2014) suggests that observing co-writing processes has an immanent advantage over solo writing through the fact that the necessity to communicate ideas makes it an evidence-generating activity. The methods proposed combine digital video documentation, immediate post-hoc introspection and qualitative data analysis. The songwriting session is recorded in full, followed by immediate post-session review and captioning of identified ‘key moments’. This enables the composer to reflect immediately upon the session, adding extra insight such as explaining moments of silence/reflection that would be otherwise lost in the observation.
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