SOURCES

Theodore Adorno, Philosophy of Modern Music, trans. by Anne Mitchell and Wesley Bloomster (London: Sheed and Ward, 1973).

Jacques Attali, Noise: The Political Economy of Music (Theory and History of Literature, Vol. 16), trans. by Brian Massumi (Minneapolis: University of Minnesota Press, 1985).

David Bahanovich and Dennis Collopy, ‘Music Experience and Behaviour in Young People’, summary report of large scale survey for UK Music and British Music Rights (BMR) (Hertforshire, UK: University of Hertfordshire, 2008). Available at http://herts.academia.edu/DennisCollopy/Papers/175296/Music_Experience_and_Behaviour_in_Young_People

Walter Benjamin, ‘On the Concept of History’, in Walter Benjamin: Selected Writings, Vol. 4, ed. by Howard Eiland and Mchael W. Jennings, trans. by Harry Zohn (Cambridge: Harvard University Press, 2003) pp. 401–424.

Carla Boehm, ‘The Discipline That Never Was: Current Developments in Music Technology in Higher Education in Britain’, Journal of Music, Technology and Education, 1/1 (2007) pp. 7–21.

Henk Borgdorff, ‘The Debate on Research in the Arts’, in Dutch Journal of Music Theory 12/1 (2007) pp. 1–17.

Henk Borgdorff, ‘The Production of Knowledge in Artistic Research’, in The Research Companion to Research in The Arts, ed. by Michael Biggs and Henrik Karlsson (Oxon, UK: Routledge, 2010) pp. 44–63.

Henk Borgdorff, ‘Artistic Practices and Epistemic Things’, in The Conflict of the Faculties: Perspectives on Artistic Research and Academia (Leiden, The Netherlands: Leiden University Press, 2012) pp. 184–198.

Liora Bresler, ‘Ethnography, Phenomenology and Action Research in Music Education’, The Quarterly, 6/3, (1995, Fall) pp. 4–16. Available at http://www-usr.rider.edu/~vrme/v16n1/volume6/visions/fall2

Guy Claxton, Hare Brain, Tortoise Mind: How Intelligence Increases When You Think Less. (New Jersey: Ecco Press, 1997).

David Collins, ‘Real-time Tracking of the Creative Music Composition Process’, Digital Creativity, 18/4 (2007) pp. 239–256.

Mihaly Csíkszentmihályi, Creativity: Flow and the Psychology of Discovery and Invention (New York: Harper Perennial, 1996).

Jacques Derrida, ‘Structure, Sign, and Play in the Discourse of the Human Sciences, ‘ in Writing and Difference, trans. by Alan Bass (London: Routledge, 1967) pp. 278–294.

Paul Draper, ‘Who’s Really Doing the Stealing? How the Music Industry’s Pathological Pursuit of Profit and Power Robs Us of Innovation’, in Proceedings of Creating Value Between Commerce and Commons, ed. by CCII (Brisbane, Australia: ARC Centre of Excellence for Creative Industries and Innovation, 2008) [online]. Available at http://www.cci.edu.au/sites/default/files/alawrence/Draper__Whos_really_doing_the_stealing.pdf

Paul Draper, ‘Authority 3.0: Toward a digital press for university-based musicians, and its role in validating ERA outputs’, in Proceedings of CreateWorld 2009: Mobile Me – Creativity on the Go, ed. by Michael Docherty and Darryl Rosin (Wollongong, Australia: Apple University Consortium, 2009a) pp. 34–42. Available at http://www98.griffith.edu.au/dspace/bitstream/handle/10072/35062/64513_1.pdf?sequence=1

Paul Draper, ‘On Disintermediated Culture, Education, and Craft’, in Proceedings of The Fourth Annual Art of Record Production Conference, University of Massachusetts Lowell, USA, ed. by Simon Zagorski-Thomas (London, London: Association for the Study of the Art of Record Production, 2009b) [online]. Available at http://www98.griffith.edu.au/dspace/handle/10072/24702

Paul Draper, 'Rebuilding the Stratocaster’, Griffith Review, 31, (Brisbane, Australia: Griffith University, 2010a) pp. 72–88. Available at http://griffithreview.com/edition-31-ways-of-seeing/rebuilding-the-stratocaster

Paul Draper, ‘Foreign objects and the Art of Interpretation’, in Proceedings of The Second International Conference on Music Communication Science, ed. by Catherine Stevens, Emery Schubert, Bridget Kruithof, Kym Buckley and Steven Fazio (Sydney, Australia: HCSNet, University of Western Sydney, 2010b) [online]. Available at http://www98.griffith.edu.au/dspace/handle/10072/30770

Paul Draper, ‘Toward a Musical Monograph: Working with Fragments from Within the Improvisation-Composition Nexus’, in The Journal of the Art of Record Production, 6, (London: Association for the Study of the Art of Record Production, 2012) [online]. Available at http://arpjournal.com/1907/toward-a-musical-monograph-working-with-fragments-from-within-the-improvisation-composition-nexus

Paul Draper and Stephen Emmerson, ‘Music, Recording and the Art of Interpretation’, in Proceedings of CreateWorld 2008: The Art of Serious Play. The Serious Art of Play, ed. by Michael Docherty and Darryl Rosin (Wollongong, Australia: Apple University Consortium, 2008) [online]. Available at http://www98.griffith.edu.au/dspace/handle/10072/29122

Paul Draper and Stephen Emmerson, ‘Remixing Modernism: Re-imagining the Music of Berg, Schoenberg and Bartok in our time’, in The Journal of the Art of Record Production, 5, (London, UK: Association for the Study of the Art of Record Production, 2011) [online]. Available at http://arpjournal.com/1121/remixing-modernism-re-imagining-the-music-of-berg-schoenberg-and-bartok-in-our-time

Paul Draper and Scott Harrison, ‘Through the Eye of a Needle: The Emergence of a Practice-led Doctorate in Music’, The British Journal of Music Education, 28(1) (2011) pp. 87–102. Available at http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=7967540

Paul Draper and Scott Harrison, ‘Reflecting on reflection-in-action: Supervising practice-based doctorates in music’, in Proceedings of The 29th International Society for Music Education (ISME) World Conference, Beijing, ed. by Wendy Sims and Lindsey Williams (Nedlands, WA: ISME, 2010) [online]. Available at http://www98.griffith.edu.au/dspace/handle/10072/37162

Paul Draper and Frank Millward, ‘Music in Perpetual Beta: Composition, Remediation, and Closure’, in Music and Virtuality, ed. by Sheila Whiteley and Shara Rambarran (New York: Oxford University Press, 2013, forthcoming).

Brian Eno, ‘The Studio as Compositional Tool’, Downbeat, 50/7-8, reprinted in eds. Christopher Cox and David Warner, Audio Culture: Readings in Modern Music (New York: Continuum, 1979/2004) pp. 127–130.

Clifford Geertz, ‘Thick Description: Toward an Interpretative Theory of Culture’, in The Interpretation of Cultures, ed. by Clifford Geertz (New York: Basic Books, 1973).

Scott Harrison and Paul Draper, ‘Evolving an Artistic Research Culture in Music: An Analysis of an Australian Study in an International Context’, paper presented at The 3rd International Reflective Conservatoire Conference 'Performing at the Heart of Knowledge 17–20 March (London, UK: Guildhall School of Music and Drama, 2012).

In Dust & Rhytms, performed and produced by Daniel Bartos (HAMU, Prague, 2012). Available at http://www.didjeridoo.cz

Mark Johnson, ‘Embodied Knowing Through Art’, in The Research Companion to Research in The Arts, ed. by Michael Biggs and Henrik Karlsson (Oxon, UK: Routledge, 2010) pp. 141–151.

Julian Klein, ‘What is Artistic Research?’, Gegenworte, 23 (2010) pp. 24–28.

Patti Lather, Methodology as Subversive Repetition (New York: AERA, 1996).

Bruno Latour, ‘The Trouble with Actor-network Theory’, Soziale Welt, 47 (1999) pp 369–381.

Erica McWilliam, ‘Exploring 21st Century Pedagogies’, workshop presented at The 25th IB Annual Conference (Melbourne, Australia: International Baccalaureate Organization, 2011) [online]. Available at http://www.slideshare.net/motik123/prof-erica-mc-william-ib-workshops-ppt

Clark Moustakas, Phenomenological Research Methods (Thousand Oaks, CA: Sage Publications, 1994).

Gary Peters, The Philosophy of Improvisation (Chicago: The University of Chicago Press, 2009).

Remixing Modernism: Music by Berg (Sonata), Schoenberg (3 Pieces Op.11) and Bartók (Bagatelles Op.6), performed by Stephen Emmerson, produced and recorded by Paul Draper (Move Records. MD 3341, Double CD set, 2010).

Donald Polkinghorne, Narrative Knowing and the Human Sciences (Albany, NY: Suny Press, 1988).

Colin Robson, Real World Research: A Resource for Social Scientists and Practitioner-Researchers. (Oxford, UK: Blackwell Publishers, 2002)

Rhythm & Flow Initiative, an on-going action research project led by Emmett Price (Northeastern University) and Keith Harrison (University of Central Florida). (Boston, MA: Notheastern University, Centre for the Study of Sport in Society, 2007). Available at http://sportinsociety.blogspot.com.au/2007/11/sport-in-societys-rhythm-flow.html

Donald Schön, The Reflective Practitioner. How Professionals Think in Action (London: Temple Smith, 1983).

Christopher Small, Musicking: The Meanings of Performing and Listening (Hanover, NH: Wesleyan University Press, 1998).

Paul Tosey, 'Interfering with the Interference', in Developing Creativity in Higher Education, ed. Malcolm Shaw, Norman Jackson, Martin Oliver & James Wisdom (Oxon, UK: Routledge, 2006) pp. 29–42.

Works

The Art of Interpretation, performed by Stephen Emmerson, recorded and produced by Paul Draper. (Brisbane, Australia: Queensland Conservatorium Research Centre, 2010).

Go Fish, performed by Paul Draper, Frank Millward and Bob Peel, recorded and produced by Paul Draper (Brisbane, Australia, 2012).

Over the Reef, performed, recorded and produced by Daniel Bartos (Prague, Czech Republic: 2012).

Over the Reef (Transfuser remix), performed by Paul Draper and Daniel Bartos, recorded and produced by Paul Draper (Brisbane, Australia, 2012).

Pulse Two, performed, recorded and produced by Daniel Bartos (Prague, Czech Republic: HAMU, 2012).

Pulse Two (remix), performed by Paul Draper, Daniel Bartos, Frank Millward and Bob Peel, recorded and produced by Paul Draper (Brisbane, Australia, 2012).

Artists

Daniel Bartos, http://www.didjeridoo.cz

Paul Draper, http://www29.griffith.edu.au/imersd/draper

Stephen Emmerson, http://www.griffith.edu.au/music/queensland-conservatorium/staff/dr-stephen-emmerson

Frank Millward, http://www.frankmillward.com

Bob Peele, http://www.brisbanedrumteacher.com