Peter Gouzouasis – författare

The Routledge Companion to Music, Autoethnography, and Reflexivity represents a substantial contribution to the field of writing reflexively about an individual’s practice within music studies. In seven sections, 22 original chapters by a diverse set of contributors consider writing about personal activities from the points of view of performance, composition, musicology, and pedagogy, drawing on a range of traditions from Western art-music to popular music to ethnomusicology. A robust critical framework is presented, with coverage of:historical and critical perspectivesdifferent methodologies and their ascendancy within the academyleading debates, issues, and approachesfuture directionsThe Companion cultivates new modes of engagement in music research, enabling scholars and practitioners at all levels to identify and articulate their relationship to the wider sociocultural contexts in which they operate.

The Routledge Companion to Music, Autoethnography, and Reflexivity represents a substantial contribution to the field of writing reflexively about an individual’s practice within music studies. In seven sections, 22 original chapters by a diverse set of contributors consider writing about personal activities from the points of view of performance, composition, musicology, and pedagogy, drawing on a range of traditions from Western art-music to popular music to ethnomusicology. A robust critical framework is presented, with coverage of:historical and critical perspectivesdifferent methodologies and their ascendancy within the academyleading debates, issues, and approachesfuture directionsThe Companion cultivates new modes of engagement in music research, enabling scholars and practitioners at all levels to identify and articulate their relationship to the wider sociocultural contexts in which they operate.

The Routledge Companion to Music, Autoethnography, and Reflexivity represents a substantial contribution to the field of writing reflexively about an individual’s practice within music studies. In seven sections, 22 original chapters by a diverse set of contributors consider writing about personal activities from the points of view of performance, composition, musicology, and pedagogy, drawing on a range of traditions from Western art-music to popular music to ethnomusicology. A robust critical framework is presented, with coverage of:

historical and critical perspectives different methodologies and their ascendancy within the academy leading debates, issues, and approaches future directions

The Companion cultivates new modes of engagement in music research, enabling scholars and practitioners at all levels to identify and articulate their relationship to the wider sociocultural contexts in which they operate.