Gouzouasis, P. (2007). Music in an a:r:Tographic Tonality. Journal of the Canadian Association for Curriculum Studies, 5(2)

7/27/2019 Gouzouasis, P. (2007). Music in an a:r:Tographic Tonality. Journal of the Canadian Association for Curriculum Studie

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JournaloftheCanadianAssociationforCurriculumStudies

Volume5Number2Fall/Winter2007

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


2/27


34

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


3/27

Musicinana/r/tographytonalityGOUZOUASIS

35

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


4/27


36

(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.


5/27


37

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


6/27


38

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.


7/27


39

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


8/27


40

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


9/27


41

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


10/27


42

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


11/27


43

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


12/27


44

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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45

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


14/27


46

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


15/27


47

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,


16/27


48

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.


17/27


49

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


18/27


50

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


19/27


51

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).


20/27


52

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


21/27


53

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


22/27


54

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.


23/27


55

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


24/27


56

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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Documents

Gouzouasis, P. (2007). Music in an a:r:Tographic Tonality. Journal of the Canadian Association for Curriculum Studies, 5(2)