Wardourcastlesummerschool

A Blog about the Wardour Castle Summer Schools 1964, 1965

More methodology

Part of the theoretical basis for deciding to undertake this research by way of the medium of a blog was to explore the potentially-collaborative, connective nature of the medium as a way of disseminating ideas about these events, of placing the scarcity of published writing about the events at the fore of the research, of positioning my lack of knowledge as a potentially positive aspect of the research, and of embedding the research within a critical discourse wherein aside from the mode of research my be naïve, misguided, progressive, or experimental, as many of its aspects as possible are available for comment. The specific forms of this medium allows easy tracking of such comments, implicit or explicit, with alerts extending to, for example, linkbacks. The extent to which the basis for choosing this medium is complicated by what I sense to be some reluctance to make overt, public criticism is becoming more apparent, and therefore it’s appropriate and useful to add this post. As much as I am curious about the events that took place at Wardour Castle I am curious as to why they have received little published attention. I am interested in the impact that the hegemonies operating within scholarly publishing, promotion in the music industry, and such have in shaping the access to materials about these events and the people who were participants. Read the rest of this entry »

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Methodology II

This blog seeks to incorporate diverse materials from published and unpublished sources, alongside opinion, anecdote, analysis, and music to ‘compose’ an account of the WCSSs. My understanding of this notion of ‘composition’ derives from two sources. Firstly (and my first encounter with it as an idea that made sense), from an (unpublished) interview between Michael Hall and David Lumsdaine in which Lumsdaine used the term to describe what the listener does in making sense of a performance, drawing ‘resonances’ of other moments in the music, other musics, and much else besides.

Secondly, from Christopher Kelty’s collaborative article, ‘Collaboration, Coordination, and Composition: Fieldwork after the Internet’ (click for the full text of this chapter): Read the rest of this entry »

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