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Netnography. Doing ethnographic research online

Coming of Age in Second Life: An Anthropologist Explores the Virtually Human

Doing Visual EthnographyDoing EthnographyDoing Visual ResearchPrinciples of Visual AnthropologyThe Wiley Handbook of Ethnography of EducationAdvances in Visual MethodologyVisual Methods in Social ResearchDoing Visual EthnographyInnovative Methods in Media and Communication ResearchUrban Youth and PhotovoiceReflecting Visual EthnographyRethinking Visual AnthropologyAn Anthropology of the SubjectVisual InterventionsExperimental EthnographyVisualizing AnthropologyDoing Visual EthnographyThe Future of Visual AnthropologyVisual Research Methods in the Social SciencesDoing Visual EthnographyThe SAGE Encyclopedia of Qualitative Research MethodsQualitative Inquiry Under FireWorking ImagesDrawn to SeeVisual ResearchDigital EthnographyInterpreting Visual EthnographyVisual Methods in the FieldDoing Public EthnographyDoing Anthropology in Consumer ResearchBeing EthnographicVideo EthnographyChallenges and Solutions in Ethnographic ResearchMuseumsThe Routledge International Handbook of Ethnographic Film and VideoDoing Visual EthnographyMediating MobilityDoing Sensory EthnographyMade to Be SeenVisual Anthropology

Doing Visual Ethnography

On Digital Ethnography

The inclusion of popular music as a content area in music education is not uncommon. The musicological study of popular music is well established in higher education, and even the practice of popular music is becoming more common in both secondary education and the post-compulsory sector. However, when this occurs, it is likely to be taught in more or less the same way as other more established content areas like western classical music or jazz, with teachers being in control of the process and the curriculum, the feedback and the assessment. However, popular music is usually learned in the broader community as a self-directed activity, sometimes including interactions with peers and group activities, but rarely under the direction of an expert mentor/teacher. One Australian conservatorium has adopted the pedagogy of popular music through the creation of a scaffolded self-directed learning environment within its Bachelor of Popular Music programme. This paper argues that the pedagogical approach employed ...

Popular music pedagogy: peer-learning in practice

There is a metaphorical incoming tide of information technology (IT) in the global guitar community. This phenomenological study examines the activities of the online guitar
community to determine its role in guitar pedagogy. It questions how the traditional teacher-student model can continue to operate amidst the floodwaters of online guitar education resources. An historical presentation, and analysis of current practice is offered, and the pedagogical value of some online resources are scrutinised. The process of enculturation through Contemporary Popular Music (CPM) education is discussed from the perspective of guitar pedagogy and the implications for instrumental guitar teaching are examined. This study was designed to examine the activities of the online guitar community to gain a perspective on the phenomenon for the purposes of informing teacher educators working with pre-service instrumental guitar teachers.

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Instrumental Teacher Education and the Incoming Tide of Information Technology: A Contemporary Guitar Perspective.

21st century telecommunications have spawned new developments in anthropological research.Researchers now utilise online tools and investigate virtual social phenomena. A research project at the University of Tasmania required the development of a tailored methodology to investigate real-world activities across multiple education institutions and associated on-line communities.The study employed a blend of traditional and contemporary approaches assembled from established methodologies. Considerations influencing the development of the methodology are presented with the intention of informing future researchers of valid methodological design.Ontological and epistemological concerns are addressed to establish a framework for 21st century ethnographical methodologies

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Engaging with 21st century methodologies in contemporary education research: Developing a multi-sited, distance, online ethnography

A study is being conducted by researchers at the University of Tasmania examining
pedagogical practices and curriculum content of guitar programs in Contemporary Popular
Music courses delivered by Australian universities. Data were collected via surveys,
interviews and industry documents. A contemporary methodology blending aspects of
Ethnography and Phenomenography was designed for the study employing Inductive
Thematic Analysis as the primary tool. The analysis revealed manifest and latent roles of
music education present in the existing paradigm. Themes of cultural perpetuation were
found in the data corpus implying a hidden curriculum. The findings are discussed from
perspectives of Ethno-Aesthetics, Globalization.

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The role of music in higher education: cultural perpetuation in hidden curriculum

The purpose of this research is to investigate and describe the optimum conditions under which collaborative improvised musical expression in performance can be established. This study is an exhaustive examination of selected performances of an ensemble in which I perform. This ensemble was newly formed, specifically for this research study. The research investigates the impact of the ensemble dynamic on the improvisations of each individual within the ensemble and the 
way in which this affects and informs my own playing.

Performances and recordings by this ensemble are used as the basis of the research presented in the accompanying exegesis. The weighting of this project is 80% folio and 20% exegesis. The recordings have not been analysed in the traditional harmonic, melodic and rhythmic manner as the focus of this study is on the way in which musicians connect at an intuitive level. The manner in which each participant’s contributions affect their co-­‐performers has been analysed and discussed. Aural perception and the collective and individual musical history of the participants are seen as 
significant factors and as such have been investigated through interviews.

It is proposed that a musician’s familiarity with repertoire should be such that conscious decision 
making in performance becomes redundant. In fact, it is felt that the need to deliberately think 
about both physical and material requirements of music making, when playing, is a hindrance to high quality musical performance, both during improvisation and interpretation of pre-­‐composed 
materials. To this end, there is a need to separate the manner in which a musician accumulates 
musical knowledge via practice, from the way they present music, as a performer. The study explores this important relationship in the context of the case study of the project album. These issues have also been examined with a view to offering some insight into the mindset and methods that best support the development of high-­level improvisation and interpretive skills.

Complexity Through Interaction: An investigation into the spontaneous development of collective musical ideas from simple thematic materials

A joint project between IMAS (Institute for Marine and Antarctic Studies) elephant seal research team and UTAS Conservatorium contemporary department performance staff. This concert series explores the insights into patterns and relationships provided by the improvised music performance realisation of research data associated with seal movement and various habitat and environment measurements. The data is presented in visual and graphic formats in real time during the concert performance.

1st iteration of graphic data
Concert #1 (pilot) - April 27, UTAS Conservatorium Recital Hall, Hobart
Performers: Glen Hodges (guitar), Andrew Legg (piano), Nick Haywood (bass)

2nd iteration of graphic data
Concert #2 - August 11, UTAS Conservatorium Recital Hall, Hobart
Performers: Glen Hodges (guitar), Andrew Legg (piano), Nick Haywood (bass)

Concert #3 - August 16, Powerhouse Museum, Sydney
Performers: Glen Hodges (guitar), Randal Muir (piano), Nick Haywood (bass)

N Haywood

Papers

Instrumental Teacher Education and the Incoming Tide of Information Technology: A Contemporary Guitar Perspective.

Engaging with 21st century methodologies in contemporary education research: Developing a multi-sited, distance, online ethnography

The role of music in higher education: cultural perpetuation in hidden curriculum

Complexity Through Interaction: An investigation into the spontaneous development of collective musical ideas from simple thematic materials

Dots on the Rox - IMAS and UTAS Conservatorium, Antarctic seal research concert