Peter Gouzouasis is a Professor of Music Education in the Department of Curriculum and Pedagogy at The University of British Columbia, Canada.Christopher Wiley is a Senior Lecturer in Music and Head of Music and Media at the University of Surrey, UK.

• Introduction 1. ‘Is there a place for storytelling in academia? Autoethnography, a/r/tography, and arts-based practice in music studies’ Christopher Wiley (University of Surrey, UK) and Peter Gouzouasis (University of British Columbia, Canada) PART 1: HISTORICAL AND CRITICAL PERSPECTIVES 2. ‘“The Mirror and the Lamp”: Personal reflection as a source of illumination or self-dazzlement in research’ Darla Crispin (Norwegian Academy of Music, Oslo) 3. ‘Liberating marginalia and navigating the self: Conversations with curiosities from musical appreciation across a century of literature’ Charlotte Purkis (University of Winchester, UK)4. ‘Autoethnography, the Academy, and the Limits of Musical Self-Knowledge’ Peter Tregear (Melbourne Conservatorium of Music, University of Melbourne, Australia) 5. ‘Cutting my Voice: Reflections on (re)authoring myself as an academic writer’ Esther Cavett (King’s College London, UK) 6. ‘Identifying a non-linear approach to the investigation of practice-led research in music’ Bartosz Szafranski (London College of Music, University of West London, UK) PART 2: CORE ISSUES AND NEW APPROACHES – PERFORMANCE 7. ‘Self-Promotion, Institutional Recognition, and Critical Performance: A Sceptical Performer-Scholar’s Sortie into Autoethnography’ Ian Pace (City, University of London, UK) 8. ‘Music performance and “flow” from me to we/you: Implications and impact beyond “me-search”’ Pedro S. Boia (CIPEM/INET-md, Porto Polytechnic, Porto, Portugal)9. ‘An autoethnographic approach to early vocal recordings and late-nineteenth-century singing treatises’ Barbara Gentili (Royal College of Music, London, UK) 10. ‘From first-person autoethnographic research to the second-person position in consciousness studies: A case study of György Ligeti’s Three Pieces for Two Pianos’ Victoria Tzotzkova (Massachusetts Institute of Technology, USA)11. ‘Foucauldian heterotopias in electroacoustic music: A flautist’s perspective on intercultural performance spaces’ Jean Penny (Federation University Australia) 12. ‘“That’s perfect, let’s do it again”: Autoethnography and Performance in the vocal booth’ Rod Davies (Monash University, Australia) 13. ‘A conductor’s autoethnography of interpretive process’ Bede Williams (University of St Andrews, UK) 14. ‘Semi-staging Written On Skin: an experiment in the ‘doubleness’ of lived experience and unfolding performative invention’ Benjamin Davis (Cardiff University, UK)PART 3: CORE ISSUES AND NEW APPROACHES – COMPOSITION AND CREATIVE PRACTICE 15. ‘Between incontrovertible truth and specious subjectivity: How composers write about their music’ Christopher Leedham (Leeds College of Music, UK) and Martin Scheuregger (University of Lincoln, UK) 16. ‘The creative process as a narrative’ Martin Parker Dixon (University of Glasgow, UK) 17. ‘Knowledge – Wissenschaft – Composition’ Nigel McBride (Independent Scholar, Belfast, UK) 18. ‘the bond between: An investigation into collaborative cultural exchange’ Alice Barron (University of Oxford, UK) 19. ‘Teaching songwriting and creativity: The value of autoethnography as remedy to the limitations of quantitative research’ Clive Harrison (Australian Institute of Music, Sydney)PART 4: CORE ISSUES AND NEW APPROACHES – PEDAGOGY 20. ‘Autoethnography and the conservatoire-based teacher-performer’ Stephanie Oatridge and Louise Jackson (Trinity Laban, London, UK) 21. ‘How did we learn to create this performance? A tutor models student reflective practice’ Monica Esslin-Peard (University of Liverpool, UK) 22. ‘The Autoethnographic Musician: Using the Therapeutic Arts model of “reflective practice” to improve student wellbeing’ James Williams (University of Derby, UK) 23. ‘(Re)writing the Social, Cultural, and Political Contexts of Musical Actions’ Peter Gouzouasis and Matthew Yanko (University of British Colombia, Canada) 24. ‘Framing the musician’s experience through theatre-based research’ Matthew Yanko, Danny Bakan, Karen V. Lee, and Peter Gouzouasis (University of British Colombia, Canada)25. ‘From Research-led Teaching to Teaching-led Research: An autoethnographic enquiry into keeping curricula contemporary in higher education popular music’ Christopher Wiley (University of Surrey, UK) PART 5: CORE ISSUES AND NEW APPROACHES – CULTURAL AND CONTEXTUAL MUSIC STUDIES 26. ‘Using Autoethnography to Link Performance, Performance-Led, and Historical Research’ Verica Grmusa (Institute of Musical Research, London, UK) 27. ‘Theorising the position of the researcher’s self and family through a postcolonial lens in a music-historical study’ Yuiko Asaba (Royal Holloway, University of London, UK) 28. ‘Reflections on autoethnography as a tool to enhance understanding of steelpan music’ Charissa Granger (Erasmus University Rotterdam, The Netherlands) 29. ‘Thumbprints on the Paintwork: Analysing The Fall from a fan’s perspective(s)’ Iain Findlay-Walsh (University of Glasgow, UK) PART 6: FUTURE DEBATES 30. ‘“Mind the gaps”: responding to new challenges for the doctorate in performance and composition’ Neil Heyde (Royal Academy of Music, London, UK) 31. ‘i believe – A composer’s journey into the unspeakable’ Zane Zalis (University of Manitoba, Canada)32. ‘Songwriting and/as research: Perambulography as an autoethnographic practice’ Simon E. Poole (University of Chester, UK) 33. ‘Performance and spoken word: creative expression as reflective process’ Ros Hawley (School of Oriental and African Studies, University of London, UK) 34. ‘…quasi una fantasmagoria, Op. 120, No. 2…..’ (2002, rev. 2018) Ian Pace (City, University of London, UK)

Peter Gouzouasis is a Professor of Music Education in the Department of Curriculum and Pedagogy at The University of British Columbia, Canada.Christopher Wiley is a Senior Lecturer in Music and Head of Music and Media at the University of Surrey, UK.

• Introduction 1. ‘Is there a place for storytelling in academia? Autoethnography, a/r/tography, and arts-based practice in music studies’ Christopher Wiley (University of Surrey, UK) and Peter Gouzouasis (University of British Columbia, Canada) PART 1: HISTORICAL AND CRITICAL PERSPECTIVES 2. ‘“The Mirror and the Lamp”: Personal reflection as a source of illumination or self-dazzlement in research’ Darla Crispin (Norwegian Academy of Music, Oslo) 3. ‘Liberating marginalia and navigating the self: Conversations with curiosities from musical appreciation across a century of literature’ Charlotte Purkis (University of Winchester, UK)4. ‘Autoethnography, the Academy, and the Limits of Musical Self-Knowledge’ Peter Tregear (Melbourne Conservatorium of Music, University of Melbourne, Australia) 5. ‘Cutting my Voice: Reflections on (re)authoring myself as an academic writer’ Esther Cavett (King’s College London, UK) 6. ‘Identifying a non-linear approach to the investigation of practice-led research in music’ Bartosz Szafranski (London College of Music, University of West London, UK) PART 2: CORE ISSUES AND NEW APPROACHES – PERFORMANCE 7. ‘Self-Promotion, Institutional Recognition, and Critical Performance: A Sceptical Performer-Scholar’s Sortie into Autoethnography’ Ian Pace (City, University of London, UK) 8. ‘Music performance and “flow” from me to we/you: Implications and impact beyond “me-search”’ Pedro S. Boia (CIPEM/INET-md, Porto Polytechnic, Porto, Portugal)9. ‘An autoethnographic approach to early vocal recordings and late-nineteenth-century singing treatises’ Barbara Gentili (Royal College of Music, London, UK) 10. ‘From first-person autoethnographic research to the second-person position in consciousness studies: A case study of György Ligeti’s Three Pieces for Two Pianos’ Victoria Tzotzkova (Massachusetts Institute of Technology, USA)11. ‘Foucauldian heterotopias in electroacoustic music: A flautist’s perspective on intercultural performance spaces’ Jean Penny (Federation University Australia) 12. ‘“That’s perfect, let’s do it again”: Autoethnography and Performance in the vocal booth’ Rod Davies (Monash University, Australia) 13. ‘A conductor’s autoethnography of interpretive process’ Bede Williams (University of St Andrews, UK) 14. ‘Semi-staging Written On Skin: an experiment in the ‘doubleness’ of lived experience and unfolding performative invention’ Benjamin Davis (Cardiff University, UK)PART 3: CORE ISSUES AND NEW APPROACHES – COMPOSITION AND CREATIVE PRACTICE 15. ‘Between incontrovertible truth and specious subjectivity: How composers write about their music’ Christopher Leedham (Leeds College of Music, UK) and Martin Scheuregger (University of Lincoln, UK) 16. ‘The creative process as a narrative’ Martin Parker Dixon (University of Glasgow, UK) 17. ‘Knowledge – Wissenschaft – Composition’ Nigel McBride (Independent Scholar, Belfast, UK) 18. ‘the bond between: An investigation into collaborative cultural exchange’ Alice Barron (University of Oxford, UK) 19. ‘Teaching songwriting and creativity: The value of autoethnography as remedy to the limitations of quantitative research’ Clive Harrison (Australian Institute of Music, Sydney)PART 4: CORE ISSUES AND NEW APPROACHES – PEDAGOGY 20. ‘Autoethnography and the conservatoire-based teacher-performer’ Stephanie Oatridge and Louise Jackson (Trinity Laban, London, UK) 21. ‘How did we learn to create this performance? A tutor models student reflective practice’ Monica Esslin-Peard (University of Liverpool, UK) 22. ‘The Autoethnographic Musician: Using the Therapeutic Arts model of “reflective practice” to improve student wellbeing’ James Williams (University of Derby, UK) 23. ‘(Re)writing the Social, Cultural, and Political Contexts of Musical Actions’ Peter Gouzouasis and Matthew Yanko (University of British Colombia, Canada) 24. ‘Framing the musician’s experience through theatre-based research’ Matthew Yanko, Danny Bakan, Karen V. Lee, and Peter Gouzouasis (University of British Colombia, Canada)25. ‘From Research-led Teaching to Teaching-led Research: An autoethnographic enquiry into keeping curricula contemporary in higher education popular music’ Christopher Wiley (University of Surrey, UK) PART 5: CORE ISSUES AND NEW APPROACHES – CULTURAL AND CONTEXTUAL MUSIC STUDIES 26. ‘Using Autoethnography to Link Performance, Performance-Led, and Historical Research’ Verica Grmusa (Institute of Musical Research, London, UK) 27. ‘Theorising the position of the researcher’s self and family through a postcolonial lens in a music-historical study’ Yuiko Asaba (Royal Holloway, University of London, UK) 28. ‘Reflections on autoethnography as a tool to enhance understanding of steelpan music’ Charissa Granger (Erasmus University Rotterdam, The Netherlands) 29. ‘Thumbprints on the Paintwork: Analysing The Fall from a fan’s perspective(s)’ Iain Findlay-Walsh (University of Glasgow, UK) PART 6: FUTURE DEBATES 30. ‘“Mind the gaps”: responding to new challenges for the doctorate in performance and composition’ Neil Heyde (Royal Academy of Music, London, UK) 31. ‘i believe – A composer’s journey into the unspeakable’ Zane Zalis (University of Manitoba, Canada)32. ‘Songwriting and/as research: Perambulography as an autoethnographic practice’ Simon E. Poole (University of Chester, UK) 33. ‘Performance and spoken word: creative expression as reflective process’ Ros Hawley (School of Oriental and African Studies, University of London, UK) 34. ‘…quasi una fantasmagoria, Op. 120, No. 2…..’ (2002, rev. 2018) Ian Pace (City, University of London, UK)

Peter Gouzouasis is a Professor of Music Education in the Department of Curriculum and Pedagogy at The University of British Columbia, Canada.Christopher Wiley is a Senior Lecturer in Music and Head of Music and Media at the University of Surrey, UK.

• Introduction 1. ‘Is there a place for storytelling in academia? Autoethnography, a/r/tography, and arts-based practice in music studies’ Christopher Wiley (University of Surrey, UK) and Peter Gouzouasis (University of British Columbia, Canada) PART 1: HISTORICAL AND CRITICAL PERSPECTIVES 2. ‘“The Mirror and the Lamp”: Personal reflection as a source of illumination or self-dazzlement in research’ Darla Crispin (Norwegian Academy of Music, Oslo) 3. ‘Liberating marginalia and navigating the self: Conversations with curiosities from musical appreciation across a century of literature’ Charlotte Purkis (University of Winchester, UK)4. ‘Autoethnography, the Academy, and the Limits of Musical Self-Knowledge’ Peter Tregear (Melbourne Conservatorium of Music, University of Melbourne, Australia) 5. ‘Cutting my Voice: Reflections on (re)authoring myself as an academic writer’ Esther Cavett (King’s College London, UK) 6. ‘Identifying a non-linear approach to the investigation of practice-led research in music’ Bartosz Szafranski (London College of Music, University of West London, UK) PART 2: CORE ISSUES AND NEW APPROACHES – PERFORMANCE 7. ‘Self-Promotion, Institutional Recognition, and Critical Performance: A Sceptical Performer-Scholar’s Sortie into Autoethnography’ Ian Pace (City, University of London, UK) 8. ‘Music performance and “flow” from me to we/you: Implications and impact beyond “me-search”’ Pedro S. Boia (CIPEM/INET-md, Porto Polytechnic, Porto, Portugal)9. ‘An autoethnographic approach to early vocal recordings and late-nineteenth-century singing treatises’ Barbara Gentili (Royal College of Music, London, UK) 10. ‘From first-person autoethnographic research to the second-person position in consciousness studies: A case study of György Ligeti’s Three Pieces for Two Pianos’ Victoria Tzotzkova (Massachusetts Institute of Technology, USA)11. ‘Foucauldian heterotopias in electroacoustic music: A flautist’s perspective on intercultural performance spaces’ Jean Penny (Federation University Australia) 12. ‘“That’s perfect, let’s do it again”: Autoethnography and Performance in the vocal booth’ Rod Davies (Monash University, Australia) 13. ‘A conductor’s autoethnography of interpretive process’ Bede Williams (University of St Andrews, UK) 14. ‘Semi-staging Written On Skin: an experiment in the ‘doubleness’ of lived experience and unfolding performative invention’ Benjamin Davis (Cardiff University, UK)PART 3: CORE ISSUES AND NEW APPROACHES – COMPOSITION AND CREATIVE PRACTICE 15. ‘Between incontrovertible truth and specious subjectivity: How composers write about their music’ Christopher Leedham (Leeds College of Music, UK) and Martin Scheuregger (University of Lincoln, UK) 16. ‘The creative process as a narrative’ Martin Parker Dixon (University of Glasgow, UK) 17. ‘Knowledge – Wissenschaft – Composition’ Nigel McBride (Independent Scholar, Belfast, UK) 18. ‘the bond between: An investigation into collaborative cultural exchange’ Alice Barron (University of Oxford, UK) 19. ‘Teaching songwriting and creativity: The value of autoethnography as remedy to the limitations of quantitative research’ Clive Harrison (Australian Institute of Music, Sydney)PART 4: CORE ISSUES AND NEW APPROACHES – PEDAGOGY 20. ‘Autoethnography and the conservatoire-based teacher-performer’ Stephanie Oatridge and Louise Jackson (Trinity Laban, London, UK) 21. ‘How did we learn to create this performance? A tutor models student reflective practice’ Monica Esslin-Peard (University of Liverpool, UK) 22. ‘The Autoethnographic Musician: Using the Therapeutic Arts model of “reflective practice” to improve student wellbeing’ James Williams (University of Derby, UK) 23. ‘(Re)writing the Social, Cultural, and Political Contexts of Musical Actions’ Peter Gouzouasis and Matthew Yanko (University of British Colombia, Canada) 24. ‘Framing the musician’s experience through theatre-based research’ Matthew Yanko, Danny Bakan, Karen V. Lee, and Peter Gouzouasis (University of British Colombia, Canada)25. ‘From Research-led Teaching to Teaching-led Research: An autoethnographic enquiry into keeping curricula contemporary in higher education popular music’ Christopher Wiley (University of Surrey, UK) PART 5: CORE ISSUES AND NEW APPROACHES – CULTURAL AND CONTEXTUAL MUSIC STUDIES 26. ‘Using Autoethnography to Link Performance, Performance-Led, and Historical Research’ Verica Grmusa (Institute of Musical Research, London, UK) 27. ‘Theorising the position of the researcher’s self and family through a postcolonial lens in a music-historical study’ Yuiko Asaba (Royal Holloway, University of London, UK) 28. ‘Reflections on autoethnography as a tool to enhance understanding of steelpan music’ Charissa Granger (Erasmus University Rotterdam, The Netherlands) 29. ‘Thumbprints on the Paintwork: Analysing The Fall from a fan’s perspective(s)’ Iain Findlay-Walsh (University of Glasgow, UK) PART 6: FUTURE DEBATES 30. ‘“Mind the gaps”: responding to new challenges for the doctorate in performance and composition’ Neil Heyde (Royal Academy of Music, London, UK) 31. ‘i believe – A composer’s journey into the unspeakable’ Zane Zalis (University of Manitoba, Canada)32. ‘Songwriting and/as research: Perambulography as an autoethnographic practice’ Simon E. Poole (University of Chester, UK) 33. ‘Performance and spoken word: creative expression as reflective process’ Ros Hawley (School of Oriental and African Studies, University of London, UK) 34. ‘…quasi una fantasmagoria, Op. 120, No. 2…..’ (2002, rev. 2018) Ian Pace (City, University of London, UK)