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33
Musicin
an
a/r/tographic
tonality
PETERGOUZOUASIS
UniversityofBritishColumbia
AFancyMyforayintoartsbasededucationalresearchhastakenasomewhat
circuitouspath. In retrospect, it seems that Ihavebeenwriting in the
realmofartsbasededucationalresearch for thepast tenyears,without
knowing that I was either thinking or acting like an artsbased
researcher.Oneofmydoctoral students invitedme towrite an article
withherbasedonmyreaction toajournalarticleshehadgivenme to
readafewyearsago(Gouzouasis&Lee,2002).ShealwaystoldmethatI
sounded likeanartistresearcher,especiallywhen Isharedmy lengthy,
colorful, musician stories during our discussions regarding herdissertation. Ialwaysconsideredmyself tohavehad strong training in
various qualitative forms ofmusic researchaesthetics,music history
andmusic theory.Andalthough Iwasaprofessionalsinger inaprior
lifetime,outsideofwriting lyricsforsongs,Iwasneverencouragedto
writefreelyandcreativelybymymentors.
As I became familiar with some of the artsbased educational
researchliterature,Inoticedonepeculiarthing.Becausethereissuchan
emphasison languagearts,andanemergenceofartsbasedresearch in
visual arts (Irwin & deCosson 2002; Springgay, Irwin, Leggo, &
Gouzouasis,2007),
Iwondered
how
one
goes
about
creating
music
and
thinkingmusically in an artsbased research context. To elaborate, I
became interested in the music endeavors of musicianshow music
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knowledge (i.e.,music theory, history, performance and performance
practice, aesthetics) and how it informs educational research maybe(come)a formof research inandof itself,howmusicwas related to
artsbasededucationalresearch,andhowa/r/tographyhasevolvedasa
dynamicformofartsbasededucationalresearch.
Since those notions have only been explored in a previous
contrapuntal composition (Gouzouasis & Lee, 2002), in a single
movementfromaVivaldiconcerto(Gouzouasis,Grauer,Irwin&Leggo,
2005),andinacompositionconcernedwithexplainingspecificaspectsof
a/r/tography to possibilities inmusic education research (Gouzouasis,
2006)thisselfreflectivepieceisrecursiveinnature.Thematicmotifsthat
wereexposed
in
the
previous
compositionsontological
and
epistemological issues, musicians identities, narrative discourse,
performativitywill be reintroduced and further developed. Those
motifs will be illuminated and aurally embellished within the
frameworkof the theoreticalanalysisof the firstmovement (in sonata
allegro form) ofBeethovensPiano Sonata inEmajor (Opus 109).The
analysis is placed throughout the dialog atmetaphorically significant
points.
Metaphorandmetonymyareoneof therenderingsofa/r/tography.
Renderingsarethewaysthatartistresearcherteacherslookatresearchdata
to
make
sense
of
the
world.
For
Overton
(1984)
and
Black
(1962),
a
model
isasystematicallydevelopedmetaphor.Modelsandmetaphorsallowus
to transfer features fromone situation that isbetterunderstood toone
that is lessunderstood.ForBarbour (1974),models, likemetaphors,are
analogicalandopenended.Metaphorsareused in themomentor ina
specific situation, models are systematically developed. Moreover,
modelsareembodied inmyth.Mythsareuseful fictions, stories that
areways of organizing our experiences. A theoreticalmodelmaybe
considered as an imagined process, and from that perspective, the
Beethovenformfunctionsasbothmetaphorandmodel.
The form of awork of art echoes that shape ofwhat needs tobe
expressed (Langer, 1953 pp. 2526). The shape of the form is an
interpretivecomponentofthisresearchitissomethingthatinformsthe
reader in the way that formal structures in music overtly and
subliminally informthe listenerofwhathasbeenheardpreviouslyand
what may be heard in the future, in various guises, in the same
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composition.Likemotivicdevelopmentinmusic,sometimesitmayseem
as if textual ideas in this composition are fragmentary, and theymay
reappear in different guises at different points in this composition to
increase tension and assist in (re)transitions. That is the nature of the
musical form and its influence on thewriting. It is intended that the
harmonic analysis may help the reader get inside the music, to
understandtheharmonicstructureofmusicanddevelopadeeperaural
awareness.Inasense,themostimportantaspectofthisresearchprocess
is for the reader to aurally conceptualize thevoiceof thewriterwhile
readingthispaperandlisteningtothepianisticvoiceofBeethoven(i.e.,
witharecording)whilereadingthescorewiththeanalysisathand.
Ina/r/tographicinquiry,onemaybeginapaperwithquestions,e.g.,notions regarding the nature of data, thepossible influences ofmusic
forminnarrativeresearch,andthe(mis)usesofmusicterminology,and
finishwithmanymorequestionsthanwereposedatthebeginningofthe
inquiry.Throughtheformofthepresentpaper,Iintendtoexploresome
of the unansweredquestions (withdue respect toCharles Ives) and
issuesraised inapriorcomposition (Gouzouasis&Lee,2002).Aswith
thecharacteristicsofatransitionfromadevelopmenttoarecapitulation
section in music, this deep selfreflection will unfold in a stream of
consciousnessasthematicmotifsare(re)exposedanddeveloped,andthe
compositionas
awhole
is
intended
as
adiscourse
in
reasoned
logic
and
creativewriting(Diamond&Mullen,1999,p.38).
EXPOSITION Measures115)
(I)E Measure 14: First theme groupa four bar melody
employingmotive1in descendingsequence
(thepitchesG#,B,E,G#inthetopstave)over
motive 2, adescending scale in thebass (E,
D#,C#,B,A,G#inthebottomstave).
58: The second phrase cadences on the second
beatofmm.8 leading to thedominantarea
(Bmajor)onthedownbeatofmeasure9
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(V)B Measure911: Second theme groupa change of meter
(fromdupletotriple) and a dramatic
changeintempo(onemeasureofthesecond
theme; a diminished 7th chord (of the
supertonic, c#m) introduces this new
thematic material. Also, note the texturechangebetween the first and second theme
group.
Measure1215: Thisharmonycontinuesthroughmeasure12,
which emphasizes the vii/ii (arpeggiated)
and slides into the next measure to the
remote key ofD#major (III); this harmony
slides back to the B major tonic (I6). In
measure14,thecadential64chordresolves
tothedominant(A#s).Measure15reiterates
theidea
of
tonic
(I)
and
dominant
(V)
harmony. Overall, measures 1215 closely
paralleltheharmonicfunctionofmeasures9
11.
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ForminmusicForm is perhaps thebroadest,mostpervasive concept inmusic. It
maybeapproachedonbothmicro(tonalandrhythmpatterns,motives,
harmonicpatterns,phrases,periods) andmacro levels (sections; forms
such as binary, ternary, rondo, sonata, fugue). Moreover, like world
viewsandparadigmsinresearch,itmaybeconceptualizedtopdownor
bottomup.Therecognitionandidentificationofpatterns,onbothmicro
and macro levels, may be considered fundamental to music
understanding. That is because all music, even the most abstract
examples,exhibitssomeaspectofformalconcepts.
Humansorganizeandcreatepatternsofsoundandsilence.Itmaybe
argued that even purposeful attempts at randomness in music
composition are patterned. Numerous examples abound in the 20th
century. Serialism,musique concrte, indeterminacy, avant garde, and
modifiedserialismareafewof thebroad labelsused todescribemusic
that many casual listeners have avoided their entire lives. Popular
listeninghabitsaside,allofthosecompositionalformswerewrittenwith
uniquestructures inmind.Onemusicexamplestandsout inmymind.
OrnetteColemansspontaneous,doublequartetimprovisationfrom1960
wasafreejazzexperimentthatwasrecordedwithout intendedform.
This is the first recording of freejazz and it provides some uniqueinsights into theartof spontaneousmusic composition.Eachmusician
solos in turn,while the others accompany the soloist as they thought
best.Allsolosare linkedbyprearranged interludes,someasbriefasa
single chord. Strikingly,what seems tobegin as a randommorass of
noise eventually settles into a sensible 40minute groove that
demonstrateshowmusicianswhostartwitheventhemostminimalplan
intuitivelyand logicallyorganize theirmusic ideas to forma coherent,
lyricalmusiccomposition.
Metaphorically,researchmaybeconsideredinthesamemanner.All
aspectsof
research
have
some
type
of
form.
Considering
the
broad
varietyofdesigns,theymayseemmoreobviousinquantitativeresearch.
Forexample,thetraditionalquantitativestudybeginswithabriefintro,
general purpose and problems (usually stated as questions or
hypotheses), then moves through a literature review; typically the
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methodology comes nextincluding sample and site description,
procedures and description of measurement tools, data collectiontechniques,organizationofthedata,anddesignandanalysis(e.g.,a2x2
ANOVA), followedby theresultsand interpretations,andendingwith
conclusions and suggestions for further research.Organizingdata into
coherentpatternsisalargepartofdoinganykindofresearch.Eventhe
most seemingly abstract narrative form of research, such as this
composition, possesses an underlying structure. The problem, as it is
withOrnetteColemansFreeJazz, is thatmany listenersandreaders
havedifficultiesinterpretingtheform(i.e.,macrostructuresthatemerge
in thecontextofanunplanned improvisation)andpatterns (i.e.,micro
structuresriffsand
lengthy
motivesas
the
content
that
do
not
settle
into a groove until midway through the improvisation) as they
temporally evolve in this purely improvisation recording. The
improvisational nature of the form deters and obscures our
understandingofthemusicinthatensemblerecording. Metaphorically
speaking,inaclassicalcontext,unlessonehasstudied19thcenturymusic
andpossessesanunderstandingofhow thematicmaterialunfolds ina
developmentsectionofsonataallegro form,someaspectsof thispaper
may seem troublesome to some readers.However, listenersmay still
experience or enjoy the performance without the vocabulary to
understand
it.
That
especially
may
be
the
case
with
the
way
many
thematicideasareweavedinandoutofdifferentsectionsofthepresent
composition.
DEVELOPMENT (measures1647)
(V)B Motive1appears in thebass, this timeas a
risingsequenceand
(vi)c# immediately emphasizes supertonic
harmony (ii c# minor). A strong,
descending bass line is prevalent from
measures 1721, and the same bass line
(motive2)appearsinthesopranovoice at
(iii)g# measure 22,where it isworked out in the
new key area of g# minor (mediant). The
developmentonlycontainsthefirsttheme.
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Dualisms,dyads,binaries,andthekitchensinkAs a person with interests in developmental psychology and the
history of philosophy (and the relationship of the two fields), one
recurrent theme seems troublesome in some educational research
literature.That is, thereseems tobe someconfusionon thenatureand
existence of dualism in rationalist, modern rationalist and post
modernist thought. Specifically, dyadic and binary relationships and
dualistic perspectives frequently seem to be confounded. Without
sounding too simplistic, for amodernistmetatheorists (Overton, 1984;
2002),dualismwasbornofDescartes(15961650)anddiedthrough the
continuum of thought that evolved throughLeibniz (16461716),Kant(17241804),andHegel (17701831).WhenLocke (16321704)proposed
that there was nothing in themind that is not first in the senses,
Leibniz replied, nothingbut themind itself (Leibniz, 1996). Kants
metaphysicalpositionsattemptedtoreunitethemindandbody,aswas
adroitly illustrated in his aphorism, concepts without percepts are
barren, perceptswithout concepts areblind (Overton, 1982). In other
words,hebelieved thatbothhuman thoughts andhuman experiences
are necessary epistemological constructs. Hegel followed Kants
progressive ideas onhumanknowledge and revived thedialectic as a
formof
explanation.
For
Hegel,
the
way
humans
come
to
have
knowledge changesacross time,and that changemaybeexplainedby
the dialectic. As such, change is a necessary dimension of both
becomingandontogeneticdevelopment.Becauseof the importanceof
lifespan development in all aspects of human knowledge, the basic
notion of becoming is fundamental to organicist epistemology and
ontology (Overton, 1984; Gouzouasis, 1994, 1996). Twentieth century
organicist psychologists (i.e.,HeinzWerner,Jean Piaget)usedHegels
ideas as a template to elaborate seminal, 20th century, constructivist
theoriesoflearning,andallofthoseperspectiveshavecoalescedoverthe
past20yearsintotheamodernistmetatheory.
Many of the problemswe face in all forms of research in the 21st
centuryarerootedinthebreadthofunderstandingoftheconnectedness
of philosophical thought in emerging forms of research. It seemswe
could engage in a much broader, more meaningful dialog if we
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embracedtheentirecontinuumofthoughtwithin,between,andacross
philosophies of the arts and sciencesand the research programs(Overton,1984)andmetatheories (Overton,1998)associatedwith those
fieldsof thought.Foramusicianwriting ina/r/tographic research, this
overwhelmingwebofknowledgeismagnifiedasmuchintheattemptto
explainthese issuesinwritingasit isinprocessofpreparingapieceof
musicforperformance.
Onemaypropose thatperformanceand researchareadyad.From
myperspective,theymaybeenvisionedastwosidesofthesamecoin,
justasnightandday,openandclosed,natureandnurturearenecessary
intheexplanationofeachother.Undeniably,thereistheedgeofthecoin
andthe
stuff
we
never
see
(i.e.,
the
sandwiched
centre),
that
is
a
coherentpartofthewholecointheinbetween,thecrossover,thegray
area, the vanishing point (McLuhan and Parker, 1968). One may
consider all of those aspects of the coin as related and inclusive. In
another realm, from a musicians viewpoint, it seems reasonable to
propose thatwemaymove fromadyadic toa triadicperspective that
includesnot onlyperformance and research,but also practice (in the
music sense of the term). From thatperspective,wemay consider an
artist/researcher/teacher (i.e., performer/researcher/practitioner as
a/r/tographer)fromaholisticperspective.
One
way
to
think
about
those
ideas
is
to
revisit
the
ideas
of
Hegel
(Stace, 1955). ForHegel, as a category ofunderstanding, the notion of
beingwaspurelyabstract,andassuchithasnoparticularcontent.That
emptinesswas not any thing,but he reasoned that the absence of
everything isno thing.AcannotequalnotAas thatproposition
does not exist in dialectical logic. In dialectical logic, positives and
negativesdonotsimplyexcludeeachother.RatherAandnotAare
identical,yet they are also distinct.Aspurenegation (i.e., contradiction
rootedindialectic),forHegelthecategoryofbeingleadsdirectlytothe
categoryofnothing. In thehistoryofphilosophical thought, thatwasa
hugeleapfromthelinearlogicofhispredecessors.
Inrelationtothedialectic,beingistonothingasthesisistoantithesis
(Overton,1982).And thepassage frombeing tonothingentailsa third
idea, thepassage (i.e., the change,or transformation,andprocesses) in
andofitselfthebecoming(i.e.,synthesis).AndforHegel,thecategory
ofbecomingsubsumesbothbeingandnothing.Becoming is implicit in
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being;becoming isanecessaryconditiononwhichbeingdepends.And
the categoriesofknowledge cannotbe fixed; theydevelopand change
across time. One may imagine that there is being in becoming,
something in nothing, order in chaos, silence inmusic and vice
versa. Ultimately,based on dialectic logic, amodernists think ofboth
partsofthedyad,aswellastheiractive,changingprocesses.
Inanextensionofthatnotion,JohnSearle(1992)postulated,thefact
thatafeatureismentaldoesnotimplythatitisnotphysical;thefactthat
a feature is physical does not imply that it is not mental (p. 15).
Similarly, the fact that a feature is research does not suggest that it
cannotbeartistic;thefactthatafeatureisartisticdoesnotsuggestthatit
cannotberesearch.Likemusicianswhoareabletobringmusicmeaningtoascore,webringunderstandingtothecreationandrecreationofour
inquiries and our selves. As expertmusicianswho learn newmusic,
ratherthanmerelytakemeaningfromanexperience(e.g.,themusicon
the page), we breathe meanings into our artist/researcher/teacher
inquiries (i.e., our performances and newly composedworks of arts
basededucationalresearch).ToperformOp.109,apianistneedstobring
much more than music reading skills and technique to the study,
interpretation,andexpertperformanceofthesonata.
Understanding process is fundamental to the amodernist research
program.Amodernists
reject
materialist,
atomistic,
reductionistic
views
of parts of dyads in and of themselves. Rather they think of dyads,
triads, tetrads, orpentads (or other combinations) that form inclusive,
whole, organic, relational, developing entities. Moreover, from an
ontological perspective, if one startswith the notion ofbecoming and
howthoseentitieschangeasafundamentalheuristic,oneemergeswitha
very different research program that is holistic in nature, taking into
accounttheheart,mind,spirit,andbodyofhumans.
Ininformalconversations,TomBaronenotedthatearlyinhiscareer,
ElliotEisner encouragedhim to read thework ofPepper (1926, 1942).
Pepper,Kuhn,Laudan(1977),Overton,andReese(1980)aresomeofthe
great contributors to human thought of the 20th century and their
writings have profoundly influenced my research program, now
considered as amodernist (Overton, 1998;Latour, 1993), in this new
millennium.Hopefully,myperspectives in theremainderof thispaper
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willdemonstrate that thisrealmof thoughthaspotential indeveloping
anapproachtothinkingmusicallyina/r/tography.
Performativeaspectsofmusic
stillstrings
deadwood
mindfulmusicthoughts
speak
through
eachfinger
avoicethat
soundsideas
fromthepassages
ofmysoul
DYNAMICvariationstimbrealrainbows
art ic u la tionsabound
Ipluck
myheartstrings
thinking
and
feeling
vibrations
Ibreathelife
intomyguitar
agenesis
ofmusic
andtruth
Toamusiciana/r/tographer,itseemsthatnotionsofwhatconstitutesperformance(andperformative)havebeennarrowlydefined.Music
is a performance art form, yet McCalls (2000) landmark work on
performance ethnography ignoresmusic. It seems odd that very early
influences on performance art in the first part of the 20th century
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throughthedynamiccollaborationsofchoreographers(VaslavNijinski,
Michel Fokine, Leonide Massine, Bronislava Najinska, George
Balanchine,) costume and set designers (Jean Cocteau,HenriMatisse,
Marc Chagall, Pablo Picasso, Isamu Noguchi) and composer Igor
Stravinsky, for one exampleare not acknowledged. Even the more
direct influences of Isodora Duncan, Mary Wigmnan, Merce
Cunningham, Ruth St. Denis, Ted Shawn, Doris Humphrey, Martha
Grahamand theirmusician/visualartistcollaboratorsareomitted from
McCalls introduction.Yet theywere the forebears to performanceart
leading into 1950s and 1960s crossperformance (i.e., multimedia
beginnings).
For a professional performing musician, research, rehearsal, andperformancemaybeconsideredasaneverchanging,contiguouswhole.
At their very essence, theymaybe considered one and the same.My
musicianship,whichhasdevelopedoverthepast40years,includesthe
researchrehearsalperformance continuum. Itmay seem that they are
triadic,andassuchtheymaybeconsideredfromadialecticperspective;
I consider them holistically and developmentally for a number of
reasons. For example,when I learned to playJ. S. Bachs Fugue inA
minor, I first needed to transcribe it forguitar. In 1975, therewere no
guitarrecordingsandnopublishedtranscriptionsofthatwork;however,
myteacher
gave
me
what
we
considered
to
be
amediocre
transcription
thatwashandwrittenbyateacherofhisinthe1960s.
Notionsofpraxisandpedagogy forguitarwerenearlynonexistent
in the 1970s, andmost transcriptionswerepoorly researched.The lute
suite,which contained this fugue,waspredatedby aviolin suite that
contained the same fugue that was written in G minor. There were
numerousrecordingsoftheviolinfugue,andImadeitapointtolisten
to asmany as I could find. I transcribed, transposed, and craftedmy
arrangement based on both the original violin and lute scores. As I
transcribedeachsectionof the fugue, I learnednotjust topractice,but
also to perform it. I learned that for a performer, much of what is
consideredpracticeisactuallyperformance,becausetheoverallmind
setoneattainswhileexploringbothfamiliar(old)andunfamiliar(new)
music is always focused on performance. Rather than the mindless,
heartless repetition of scales and passages, practice is performance, it
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possessesaspectsofperformativity,anditisaprocessthatleadsonetoa
mindful,soulfulperformance.Asmyguitar teacherapprovedeachsectionofmy transcription,he
wouldhelpmewiththetechnicalaspectsoftheperformance.However,I
learnedmoreaboutperformancefromthatpiece,andeverysubsequent
piece ofmusic I have ever learned, from a cellistwhowon the silver
medal at the worldfamous famous Tchaikovsky Competition in
Moscow.Hewasmyensemblecoach,anditwasfromhimthatIlearned
of theholisticperspective (i.e., a considerationof technical,expressive,
andmusicanalyticalcharacteristics) thatmastermusiciansbringtoand
take from the researchrehearsalperformance triad.Perhaps itwas his
lineagehehad
studied
with
Janos
Starker
and
performed
in
master
classeswitheveryworldfamouscellistintheworldatthattime.Perhaps
itwasanEasternphilosophyacquiredthroughhisJapaneseupbringing.
Iamnotcertaintothisday.AndthoughIwasinitiallydisappointedthat
my flautistwouldregularlymissmyensemblesessions, I learnedmore
aboutmusicianshipthroughresearch,practice,andperformancefrom
acellistthananyotherteacherIhaveeverhad.
To elaborateon the triad, rehearsal (i.e.,practice) andperformance
existinthesamementalspace.Practiceismorethanmerepreparation.It
is a search and research for everything needed to perform music.
Laypersons
may
not
realize
that
when
a
musician
researches
a
score,
theybringmeaning to the score.Mastermusicians learn tothink the
sound of a score, aswell asmentally execute the executive technique,
necessary to perform the music. That form of research and mental
practicemayhappenanywhereanytime,withorwithoutaninstrument.
Ontologically speaking, music exists in both physical (i.e., acoustic,
physicalsenseofsoundwaves)andcognitive (i.e.,mentalcreationand
recreationwhen the sounddoesnotphysically exist) realms. Sowhen
performing, a guitarist not only thinks of their torso, breath, hands,
fingers,guitarstrings,acousticproduction (i.e.,sound)andappropriate
performancepractice,theyareinfactmoreimmersedinthemusicitself
asthey(re)createitintheirmindbeforeitisexpressed(i.e.,emotedand
presented inacousticalspace).Rather thanreadinganovel, Ioften find
myselfreadingmusic (e.g.,CharlieParkersolos)while travelingon the
busand try to considerall Ineed todo tomake themusic soundas I
aurallyconceptualizeit.
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In support of a broader notion of performative arts, noted jazz
pedagogueJerryCoker (1964)suggeststhat intuition, intellect,emotion,
sense of rhythm and pitch, and habit all play roles in a musicians
approach tojazz improvisation(p.3).ForCoker,andmostprofessional
musicians, the creative process occurs at all levels of consciousness,
ranging from minimal to total awareness. This, in turn, is possible
because inspiration occurs precisely at the moment when the most
completementalandpsychologicalpreparationforagiventaskhasbeen
achieved(p.ix).Moreover,thatmentalpreparationisreallythecruxof
thematter, for all forms of performingmusicians (p. x). From those
perspectives, and others, it seems reasonable to suggest that most
professionalmusicians cannot relate to a reductionist, exclusivenotionthatonlyperformanceisperformative.
DEVELOPMENT (continued)
(V)B Starting in measure 28, the dominant of B
majorappears,but
(iii/V)d# there is abrief excursion to themediant of
thedominantkey (d#minor).Afterworking
though the secondary dominant area (V of
V),beginning
in
measure
33,
an
extended
dominantpedalcadencetothehomekeyofE
majorbeginsaroundmeasure35.
Fact,fiction,andfaction:AndthatsthetruthIn our first contrapuntal composition (Gouzouasis& Lee, 2002), I
deducedthatforanartist,thetruthmaybefoundinthethinginand
of itself.Moreover,truthsmayberevealedtothosewhochoosetoseek
themthroughartandtothosewhoareable toexperience them in(and
through)art.Inotherwords,forme,artistruth,inandofitself.Myidea
iscongruent
with
James
Joyces,
who
said,
art
is
true
to
itself
when
it
dealswiththetruth andbeautyisthesplendoroftruth(Joyce,1991).
It is also closely related to the notions of Gadamer (1994), who is
considered as a foundational amodernistphilosopher.More recently, I
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havebeenchallenged to thinkabout truth in relation tonotionsof fact
andfiction.InaclasshetaughtasavisitingprofessoratUBC,TomBarone(2002)
askedthegrouptowritetwovignettes,onefactualandonefictionalized.
BecauseIwasafewdaysfromatriptoEuropeinwhichIwouldvisita
childhood friendwho I hadnt seen in 20 years, I choose towrite the
followingstories.Oneisfact,theotherfiction.
StoryOne:Weused to drive toCentralHigh School
everySaturdaymorning forourclassicalguitarensemble
rehearsal. Rogers mom had an old, 1960, faded green
Ramblerstationwagon.SheddriveustoBroadStreetand
ErieAvenue,
which
was
just
beginning
to
transition
from
a
nice, safe neighborhood to a dangerous ghetto. One
Saturday in late February, therewas a huge snowstorm,
butwemade it to rehearsal anyway. The parking lot at
nearbyLaSalleCollegewasclearedduringtheweek,after
threedaysofheavysnowfall,andthenearestcornertoour
rehearsal room window featured an unbelievably huge,
packed mountain of snow that next Saturday morning.
That spring,weworked on a transcription of a Vivaldi
concerto for three solo guitars, four supporting guitar
parts,
and
string
orchestra.
Roger,
with
his
long
waist
lengthblonde hair, and I,withmy shoulder length hair
andmoustache,playedtwoofthesupportingparts.Every
week, as we turned the corner to be dropped off for
rehearsal, thepileofsnowgotsmallerandsmaller.Wed
laugh andbet onwhether or not that dingymound of
snowwould stillbe there the nextweek. Unbelievably,
thatpileofsnowdidnotcompletelymeltawayuntil the
lastSaturdayinMay.
Story Two: In the early Spring of 1971, Roger and I
woulddrive toour classicalguitar ensemble rehearsal at
CentralHighSchool inhishot,metallicblue1968Malibu
SS396.Whatacar!We thoughtwewere reallyhotstuff.
One Saturday morning in early March, it snowed like
never before. We made the rehearsal, but barely, since
Roger didnt have snow tires. It snowed the next three
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days.Thenextweek therewasa40footmoundof snow
thathadbeenclearedfromtheLaSalleCollegeparkinglot.
Wewouldlookoutthewindowatthatmountainofsnow
from our rehearsal room window, wondering what it
wouldbe like toslidedown itriding thesoundboardsof
our guitars, screaming like banshees and smashing our
guitars to smithereens likeHendrix andTownsend.That
spring,weworkedonatranscriptionofaVivaldiconcerto.
Roger and Iwereboth featured soloists.He and Iwere
both nontraditionalistswhereas all of our friends had
long hair andmoustaches,we had crew cuts andwere
cleanshaven (Rogersdadwasa retiredUSAFpilot).Weweregreasers thatdidnt likeorplayrockandroll,we
onlyperformedclassicalmusic.StreetFightinMenwith
musical sensibilities. It seemed that pile of snow never
melted.BytheendofMay,therewasstilladirtypatchof
graymuckinthecorneroftheparkinglot.
Whichstorywasfactandwhichstorywasfiction?Baroneasked
ustodiscardtheoppositionoffictionandreality.Heproposedthatwe
consider the notion of faction (a term coinedbyAlexHaley, 2007),
inventedfact
that
had
fiction
in
it.
As
Iwrote
the
two
stories,
Iasked
myself, howmuchofmymemory itself is fictionalized?Moreover, I
wondered how much of the story would Roger remember. And in
considering the stream of thought from fact to fiction to faction, I
wondered, if Roger remembered the story, what parts would we
disagreewith? Inotherwords,would therebefrictionbetweenour
memories(i.e.,faction)ofwhatactuallyhappened(i.e.,thefacts)?WasI
tellingthetruthandhowmuchdiditmatter?
In music, jazz improvisation is like a continuum of fact, fiction,
faction and friction.Themelody, or head (i.e., capo in Italian), of a
popular tune is the point of reference for a smalljazz ensemble. The
factsare thespecific,agreeduponchordchangesandmelodythat the
composerintendedtobefollowed(e.g.,AutumnLeaves).Thatmelody
andharmony(i.e.,chordchanges)arewrittenonaleadsheet,andquite
literally, that sheet of music leads the ensemble through the
performance.Onceeveryone isfamiliarwiththeagreedupontemplate,
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there is freedom to improvise fictions in a variety of ways, with
numerousvoices.Asanotherexample,thetypicaltwelvebarbluestuneisconstructed
withthreedifferentchordsovertwelvemeasures.However,thereareat
leastadozencommonlyacceptedalternatechordprogressions(Coker,p.
85).Moreover, there are numerous forms of chord substitutions (e.g.,
minor thirdsubstitutions,augmented fourth substitutions) thatmaybe
interjectedatvariouspointsofaharmonic(i.e.,chord)progression.The
variationssometimesseemendless.Andevenwithoutverbaldiscussion,
welltrainedmusicianscanhearthosealterationsastheyarepresented
in the stream of improvisatory consciousness. However, the blues
progressionis
arule
in
the
broad
sense
of
the
word,
and
based
on
non
verbal, agreed upon aural information (i.e., music data or fact)
musicianscreateamelodicstory (i.e.,an improvisatoryfiction)within
thespecifiedframework.Wemayagreethateach improvisationalstory
maybenovelandunique.Infactitmaybeconsideredaformoffaction,
especially when parts or characteristics of an original melody are
skillfully interwoven into the schemeofanovel solo.Usually,because
musiciansboth listen to themselves and theirpeers, theremay alsobe
muchsharedmelodic informationacrosssolos.That is, the improvisers
may simultaneously share fact, fiction and faction within the same
performance.
From
this
perspective,
fact,
fiction,
and
faction
may
exist
in
relationtoeachotherinthattypeofperformance.
RECAPITULATION (measures4865)
(I)E Measure4854: The recapitulationbeginswithmotive 2 of
thefirstthemegroup,anoctavelower(itwas
a descendingbass line in the development
section),but inadifferentaccompanimental
context/texture. Also, whereas the
recapitulation of the first theme is only 6
measures, the theme in theexpositionwas8
measuresinlength.
Measure5457: Whereasmeasures48oftheexpositionwere
originally stated in the dominant key of B
major,theynowappearinthetonickeyofE.
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AfunnythinghappenedonthewaytotheeditorPepper(1942)proposedthatthereisnosuchthingaspuredata(i.e.,
fact). Pure data may only exist for researchers who adhere to a
materialistworldview(i.e.,amechanisticresearchprogram).ForPepper,
andKuhn (1962), all data has some theory in it, and as such Pepper
considereddatathatisinfluencedbytheoryasdanda.Inotherwords,
since humans conduct research and all researchers are influencedby
various theoretical orientations and presuppositions, there is no pure
data.
Pepper was also interested in common sense. He believed that
commonsense(1)wasnotcognizable(i.e.,themomentweattemptto
describeoranalyzesomethingwemoveawayfromcommonsense),(2)
was not secure (i.e., nervous in the more contemporary sense that
Pollack, 1998, p.90, describes it) and (3)was cognitively irritable (i.e.,
muddledandunclear inthesensethatcommonsense iscontradictory).
Oneexampleofacommonsensepropositionishumanscreatemusic.
Once we begin questioning how humans create music, why they
create music, how they learn to create musicwe move away from
commonsensetoformingresearchquestions.
AswithHeidigger(18891976),whosenotionofthereadyathand
(1954) isessentiallyequivalent toPepperscommonsense,Husserlwasinterestedinbracketingtheoreticalassumptionstoallowustolookat
theworld(i.e.,ourexperiences,phenomena)withouttheory.Thinkers
bracket their explicit theoretical assumptions to allow them to get to
commonsense,butforHusserl(18591938),whobelievedthatDescartes
wasclosetodiscoveringthepurelyphenomenologicalspherewithhis
aphorism ego cogito, ego sum (Husserl, 1917; readers note: that is
Husserls interpretationofDescartes famous statement) common sense
was not a totally neutral kind of experience.One can imagine that a
positionwherehumansridthemselvesofalltheoreticalassumptionsand
examinethe
real
world
could
easily
be
interpreted
as
arealist
position.
However, one may interpret that if we begin living inquiry (e.g.,
a/r/tographywithamusic focus) incommon sense,wemaybeable to
bracket major theoretical components of our research programs and
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recognize that common sense is phenomenal (i.e., ladenwith human
thought)andnotexclusivelynominal(i.e.,ofthereal,materialworld).My inquiries ina/r/tographybegin incommon senseknowledgeof
music, and common sense is irritable (Pepper, 1942) and always
tippingtowardastateof flux. Itseemsreasonabletosuggest thatthere
maybemanymetaphoricparallelsbetweendata,dandaanddubitanda
(i.e., thatwhich is dubitable,maybe doubted) and fact, faction, and
fiction inmusic.Forexample,themusicnotationofacompositionmay
be considered a form of data.Holistically speaking, the composition
representedby that notationmaybe considered danda in the sense
thatitiscreatedbyhumansandinterpretedbyhumansinperformance.
Insome
ways
music
performance,
music
composition
and
narrative
writing may be most creative in an unquestioning state of common
sense. For me, some of the perplexing irritability occurs when
narrativedataordanda isalteredbyaneditor.Does itobscure the
originalintendedmeaningsofthewriters?Doesitaffecttheformofthe
composition,especially if the linguisticaspectofcomposition followsa
musicalform?
Onarelatedtheme,Ihadadifficulttimewiththeeditingprocesson
thefugalcompositionthatIcomposedwithmycolleague(Gouzouasis&
Lee, 2002).Not only did the editing distort themusical form of our
linguistic
composition,
which
most
casual
readers
missed,
it
drew
into
question the notion of relationships between music forms, narrative
writing and research data. In otherwords (andwith admiration and
respecttoalleditors),itseemsreasonabletoarguethatifajournalarticle
iswrittenwithaparticularmusicforminmind(e.g.,fugue;Gouzouasis
&Lee,2002),andthelinguisticexpressionisdirectlylinkedtothatform,
itseemsillogicaltoseverelyalterthatwrittennarrative.Nomatterhow
much amusician explains the structure of a piece to a nonmusician,
unlesstheycanconceptualizebothafugueandaspokennarrative,and
relationshipof themusic formandnarrative, themusic formmayonly
beconsideredmerelyanovelwritingplatform.Infact,ournarrativewas
initiallybasedon the formofamusical fugue Ihadwritten forguitar
some25yearsago,andinmymind,Ihadcraftedthedialogbetweenthe
coauthor and myself to parallel the progression of that music
composition.Thecompositionasawholehadbeendistortedandforme,
and it lostmuchof its intendedmeaning.Todate,onlyonepersonhas
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recognized the attempted structural coherence and subsequent flaw in
thewrittencompositionasawhole.
Part of the problem lies in the notion that while many music
researchers believe that music is not a language, there are many
metaphors and some research thatmaybedrawnupon to explain the
relationship between music acquisition and language acquisition
(Gouzouasis & Taggart, 1995). Also, there are many obvious
relationships in the way thatmusic and language are used to create
songs, and the sociohistorical development of song is a large part of
whatmakesushuman.And it iscommon sense topropose that songs
maybeconsideredanearlyformofmultimediaamarriageofmusic
andlogo.However,notallmusicissong(i.e.,notallmusichaslyrics)and not all instrumentalmusic is inspiredby logo.Moreover, since
music isnotlogo (i.e.,theword) itmaybe consideredby some to
transcend both spoken and written language in many ways (e.g., in
compositional process and product, in affective domains). Obviously,
musicdoesnotneedwords.Music can inspirewords,discussion, and
dialog.Music is a techne, in the artful sense of theGreekprefix.For
those reasons alone, the art of thinkingmusicallymayprovidenew
perspectivesina/r/tography.
Returning to apreviouslyproposedmetaphor,when considered in
termsof
fact,
fiction,
and
faction
(and
in
terms
of
data,
danda,
and
dubitanda)musicmayrevealinteresting,alternativeinsights.Whereasa
music scoremaybe considered as a form ofdata,music theory is the
precise studyof theelementsand structuresofmusic.As such,andas
with the present papers harmonic analysis of op. 109,musicians use
various forms of analysis to reveal factual details of a composition.
That ishowwe come tounderstand, for example, the structureof the
bluesanditsvariationsandthetonalandrhythmicinformationwemay
chooseto improviseandcreateblues.Certainly,muchof improvisation
isinspirationalandthinkinginthemoment,butitisequallybasedon
technicalandmusictheoreticalunderstanding. Broadly,metaphorically
speaking,weavingachorusofimprovisationinatwelvebarbluesislike
telling a storya novel fiction (in the Latin sense of theword, to
fashion,toshape),thatisbaseduponafact(i.e.,aprescribedtwelve
bar structure), thatmaybe considered faction (i.e., especially if the
musiciansadroitlybendtheruleswhileblowingasolo).
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RECAPITULATION (continuedfrommeasures4857).
(I)E Measure5866: Wearepresentedwitharecapofmeasures9
11,butnowinthehomekeyofEmajor.The
diminished7thchord (vii/ii) is stillprevalent
untilmeasure61,where itchromatically(G#
toGnatural) resolves to thedominantofC
major (bVI).Measure62 is in the tonicofC
major, which in second inversion
chromaticallyslidesback frombVI to I6 (G
toG#inthebass)tothehometonickeyofEmajor. This time, the resolution of the
cadential 64 chord (measures 6364) is
delayeduntiltheendofmeasure65,whereit
finally cadences to an arpeggiated tonic
chordinmeasure66.
Voicesinnarrative,voicesinmusicThere seems to be much ado in narrative research regarding
voice.Bakhtin(1990)posedthebroadquestionofwhethertherewasa
way of creating a text in which there is no privileged, authoritativeposition.Yet indrama or film, thedirector as auteur is the commonly
usedmetaphor. In that realm,actorsaremerelypawnsof theplotand
the vision of thedirector is supreme.Playwrights often complain that
directorswanttohirethewrongscriptwriterorthattheywanttomake
excessivechangestotheoriginalstorytomakeitmoremarketable.More
oftenthannot,actorsalsocomplainabouttheirlinesanddemandscript
changes.Fromadramaticperspective,onemayaskwhatitwouldmean
to have a variety of voiceswhere no one voice isprivileged over the
other.
Asamusician
Ifind
this
line
of
thought,
and
the
issues
involved,
peculiaronanumberoflevels.First,manycomposerswritemusicwith
very specific ideas inmind regarding theperformance of theirpieces.
Obviously,music notation frequently provides themost fundamental
instructions in the performance of a composition. The expressive
elementsofmusictempo,dynamics,andarticulationarealsousually
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specifically noted and followed, with some degree of interpretation.
Certainly, because humans perform music, and because music is an
expressiveartform,thereissomeleewayforartisticinterpretation.This
canbe heard in the numerous recordings of the Beethoven sonata at
hand aswell as any otherpiece ofmusic that hasbeenperformed or
recorded by more than one musician. And notions of power and
privilege are usually not an issue of concern, even when the
relationshipbetweenaconductorand instrumentalistsandvocalistsare
the focal point in the midst of a performance of Beethovens Ninth
Symphony. Give and take, gestures and implicit understandings,
breathingasone,trust,openness,andmusicawarenessofthemomentat
handarethefocus.Breathislife(Ramacharaka,1904)andvoiceisrootedintheflowofbreathingandexhalation.
Second,withinafourvoicechoralcomposition,therearemanytimes
when some voices dominate the harmonic texture and other voices
provide harmonic filler or support. Rarely are all voices equal in a
choral composition, even in themost homophonically sounding Bach
chorale. One may musically imagine (i.e., audiate) if every
instrumentalist in an orchestra played Beethovens Fifth Symphony at
the same dynamic level from start to finish. To a musician, that is
inconceivable onbothmusic theoretical and aesthetic levels imagine
howboring
music
would
sound
if
all
voices
were
created
equally.
In
my
immediate reflection on this portion ofmy composition, it seems that
moreneedstobewrittenontherelationshipsanddynamicsofvoiceand
performanceinmusicandvoiceandperformanceinlinguisticnarrative
(Phelan,1993;Pollock,1998).Performance inmusicexistsbeyondmere
being,beyondasingularpresent(Phelan,p.146);ratherperformancein
musicseemsmoreaptlyexploredinbecoming(Allport,1955).Fromthat
perspective, it seems reasonable to suggest that artsbased educational
researcherscould learn fromhowmusicians learn to complementeach
other in ensemble performance settings andwhat canwe learn from
studyingvocalrelationshipsinmusic.
Relatedtothediscussiononbluesimprovisation,solosarewhatthey
area featured, individual voice solos as they are supportedby a
group. Sometimes everyone solos on a particular song, and at other
times, only one person solos. Frequently, the leader of a group (e.g.,
SonnyRollins)performsthemajorityofthesolosbecausetheyhavethe
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most tosay.And that isacceptedandreadilyacknowledgedbyboth
theensembleandaudience.Andusually,forexample,eachmemberofajazz quartet plays a different instrument and each instrument has a
unique voice and role in the ensemble. For example, the rhythm
section isusually intended toproviderhythmicandharmonicsupport,
while horns aremore likely soloists.However, even though itmay
seem to the casual listener that somevoicesmaydominatemore than
others,musicians recognize and appreciate the roles of all voices in a
dynamicensemble.Onemayextend thismetaphorquite readily to the
fieldofdanceanddrawsimilarideas.
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Coda
Measure 6699: From a textural perspective, the coda seems
to be in ternary (three-part) form. Motive 1
moves from the subdominant (IV) to tonic (I)over a four-note descending figure in the bass
that seems like an abbreviated motive 2. In a
strong cadential passage (mm. 7076), the
previously mentioned four note figure
appears inverted in thebass.Thedominant
(V, B major) harmony in measures 7778
leadsinto
the
contrasting
section
of
the
coda,
which moves from submediant through
supertonic harmony, a cadential sequence,
and back to tonic. The final section of the
coda (measure87100)isdefinedbyastrong
tonicpedal,withmeasures9094interpreted
as emphasizing minor subdominant and
submediant harmonies (or may be
interpretedasmerelyamelodicplayonC
B/b65,C#B/65).
A/r/tographyisarelativelynascentformofresearch.Thoughmusic
research isperhapsoneof theoldest formsof research in the fieldsof
psychologyandeducation, it seems tobemired in traditional formsof
academic discourse. As a musicianas a soloist and ensemble
performera/r/tography offers theboth the flexibility of improvising
overchallengingchordprogressionsandexploringclassicalmusicforms
that provide many exciting possibilities and musically influenced
researchdiscoveries.
Patterns of relationship and forms of understanding exist inboth
research andmusic. In aperformative sense,music compositionsmay
enable some researchers to revealnewperspectivesof researchmodels(i.e.,throughpatternsandforms)andresearchprocesses.Thedifficulties
lie not only inunderstanding theprocesses ofmusic composition and
performancebutalso inhow thoseprocessesmay relate toeducational
research.Therearelimitstotextualandvisualunderstanding,andmusic
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seems toprovide thepotential formanynewperspectives intohuman
understandingingeneral,anda/r/tographyinspecific.Musicbringsarich,auralcognitiveaspecttoallformsofartandon
numerous levels and in many dimensions, music is performative.
Moreover, music is unencumbered by boundaries of language and
literacy, and as such,musicians thinkdifferently.Theperforming and
visual arts and the artistic knowledge of those domains transcends
material explanation rooted only in experience by providing a rich
tapestry of cognitive, aesthetic, and spiritual realms of understanding
and explanation.Through a lifelong immersion in artisticprocess and
development, a/r/tography enablesus to challenge, change and extend
ourunderstanding
of
all
aspects
of
research
endeavors.
That
notion
underscores the importance that musicians who possess broad
understandingsofbothmusicandresearchengageintheevolving(i.e.,
becoming) a/r/tographicdialog and sharemeaningful,musical insights
onvariousareasofdiscoursewithartistcolleagues.Tothatend,another
musicalopusina/r/tographyisforthcoming(Gouzouasis,2007).
CodettaAfancy isatermthatwasusedbyRenaissance luteniststoname
an introductorywarmup inacomposition in thestyleofa fantasia. In
thestoryaboutthemoundofsnow,thecarwasblackPlymouthSatellite(i.e.,asportyDodgeDartofthatperiod).Ihadmistakenlyrecalledthe
car that Rogers mom drove when we were in kindergarten, but he
remindedmethatshehadanaccidentwiththatcarin1965.Everything
elseaboutthefirststorywascorroboratedandformedatruth.Andona
trainridethroughthelushScottishcountryside,welaughedaboutthose
recollectionsandmore,32yearsand3000milesfromouryouth.
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