3.1 Methodological Approach 3.1.1 Ini5al research process
The process devised to undertake this research was based on a collaborative, and practice-led approach. In the original planning, three sub-projects were envisaged and loosely designed by the project leader (Dr Andrew Blackburn) and principal researcher (Dr Jean Penny). From the initial structure and scope a team of researchers was put together. Very early in the developmental process, discussions were held with Prof. Dr Marc Battier of IReMuS (Sorbonne University, Paris) who expressed an interest to join the project. The research process was then jointly developed by the whole group of invited researchers, through an open symposium held in the Faculty Muzik dan Seni Persembahan at Universiti Pendidikan Sultan Idris, in June, 2014. Participants in this meeting were:
Dr Andrew Blackburn - Leader (UPSI) Dr Jean Penny (UPSI)
Assoc Prof Dr Hassan Abdullah (UPSI)
Prof Dr Marc Battier Principal researcher (Université de Paris - Sorbonne) Asst Prof Dr Hasnizam Wahid (Universiti Malaysia - Sarawak)
Assoc Prof Dr Valerie Ross (Universiti Teknologi MARA) Dr Clare Chan (UPSI)
Graduate Research Assistant En Hafifi Mohktar (Masters)
Soon after this meeting, Dr Clare Chan withdrew from the project, and Assoc Prof Dr Pierre Couprie (Université de Paris IV) joined the group. The approach
confirmed and supported by the opening symposium was to sequentially conduct three sub-projects. The projects are:
Notating timbre in Traditional Malaysian Music Developing Timbral Notation for performance Notating the timbre of Electroacoustic Scores
It was decided that, after the findings from each were collated and considered, a second symposium would be held with all researchers, composers and other
participants to consider how these findings may feed to developing a timbral notation system. An outcome of the second symposium would be recommendations for
developing a timbral notation system. This symposium was held in December, 2015 with the international researchers from Paris University in attendance (see Appendix 2 for the Symposium report).
A final (and fourth) project would then be undertaken, based on these
recommendations to model how such a timbral notation system might organologically
and semiotically operate. Central to this study would be the development of techniques and expertise in recording the various instruments and sound – deciding what the ideal circumstances for capturing the sound might be – in the field, or recording studio. It was not possible to complete this project, being dependent on composers who for a variety of reasons did not develop compositions to a stage where they could be
performed, and the ensuing health issues of the Lead Researcher, who had to return to Australia. This final project was to have tested and applied the models in a
performative environment. As this is a Fundamental Research grant, it is believed that these issues have not impacted on the basic quality of the research, and it would make an excellent starting point for a research project that applies and tests the models developed here.
All the projects were designed to utilise a qualitative – practice-led research methodology, that allows for a range of methodological approaches within. These ranged from quantitative measurements of instruments, sounds and the like within spectrograms, from which content and characteristics were noted and assessed.
Comparative measurements were made between various forms of spectrogram, and these were then measured against other examples that had been recorded. Of equal value were the experiential notes and reflections of the participants as the
measurements are applied in artistic and performative environments. It is an approach that is outlined in detail in Blackburn (2011), Penny (2009) Coessens, Crispin &
Douglas (2010) et al.
Utilising artistic practice as research methodology, the approach of this research project requires considerable periods of reflection and flexibility, responding to
discoveries and findings from within the planned research process. Some areas were given greater importance, for they revealed new information, including:
An extended survey of a very wide range of research and writings on timbre and notation . It allowed the creation of new knowledge and the
inter-relationships of the proposed projects became self-evident;
That each sub-project exhibited organological similarities which helped give rise to the models that have been developed.
Developments within each Sub-Project to adapt to and progress the findings and processes which were required, as new findings and approaches were articulated.
As the project proceeded, it was found that ideas and concepts anticipated as part of the development of notations were either being confirmed as important, not needed, or wrong. Many periods of reflection have been undertaken (as written about in the articles, and chapters on each project) and new directions and processes discovered.
3.2 Sub-Projects
The research design was built around a series of sub-projects. The first is entitled Notating timbre in Traditional Malaysian Music - an ethnographic approach. The
second sub-project is Developing Timbral Notation for performance while the third and final one is Notating the timbre of Electroacoustic Scores.
In that three projects, using practice-led research as the pre-dominant methodology relies upon the professional practice of the researcher. It acknowledges the pre-existing knowledge they bring to the research, both as an individual and as an experienced researchers in ethnomusicology, performance , composition and electronica. In particular, the variety of perspectives this methodology allows has been most advantageous in the research project. The ‘insider-outsider’ knowledge paradigm in particular, has assisted the authors in coming to understand what is occurring as, for example, the Wayang Kulit performer made his instrumental deliberations in the first project, or the flute player in the second, her understanding of the instrument, its extended techniques and the possibility of applying this in the project.. This ‘insider-outsider’ reflection is the basis of the research approach described by Donald Schon (1996), requiring the researcher/practitioner to consider their professional practice, and consider what is, and how this knowledge might be used to improve or develop what occurs in the researcher’s practice. This reflective process is not to confirm the status quo, but to open the researcher to look for new ways and processes to create positive change in their practice. Central to this reflective process is the knowledge the
researcher has both from an awareness or mindfulness while they are playing, teaching or whatever (insider knowledge), and a subsequent process of reflection after the event, perhaps also observed by a knowledgeable other (outsider knowledge). A full
discussion of this research methodology is beyond the scope of this report, but attention is drawn to Penny (2011) and Blackburn (2012) who both discuss this extensively in several publications.
3.3 Compositions
The opening seminar was a critical element in changing the methodology through the approach of proposed new compositions. From this seminar, it was proposed that there would be at least 3 new compositions, each exploring a slightly different stance and perspective of timbral notation, which could lead to models which wold be tested in this context.
Initial meetings were held between the composer/researchers within the group - Assoc Prof Dr Hasnizam Wahid and Assoc Prof Dr Valerie Ross. Each thought that several compositions would be possible, and developed for performance. As time passed, it became evident that a lesser number of compositions would be produced. In the end neither composer/researcher finished performance ready works. Development and semi-completed work was prepared by both researchers which allowed modelling to be undertaken. The compositions, at their last stage of development, are given in Appendix 5 below.