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A Songwriter’s Journey from little-c to Pro-C Creativity An Applied Analytical Autoethnography Clive Maxwell Harrison A thesis presented to The School of Design, Communication and IT University of Newcastle, Callaghan, NSW in fulfilment of requirements for the degree of Doctor of Philosophy by research. Date: June, 2016 Statement of Originality The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. Signed: Statement of Authorship I hereby certify that the work embodied in this thesis contains a published paper/s/scholarly work of which I am a joint author. I have included as part of the thesis a written statement, endorsed by my supervisor, attesting to my contribution to the joint publication/s/scholarly work. Signed: This research received the approval of the University of Newcastle Human Research Ethics Committee (Reference number: H-2013-0329) on the 29th October 2013 i Declarations I certify that the content of this thesis has not been submitted for a higher degree to any other university or institution. I certify that all sources of information used, the extent to which the work of others has been utilised and any assistance in the preparation of the thesis have been acknowledged. The following publications have emanated from this study: Clive Harrison (2015) The Songwriting Labyrinth: Practical Tools to Decode the Mysterious Craft (Crows Nest NSW: Rumpelstiltskin Press). Clive Harrison (2016) ‘Bebop on the Hockey Pitch: Cross-disciplinary Creativity and Skills Transfer’ Performance Science, 7, 123. ii Acknowledgements The scholarly expression ‘Standing on the Shoulders of Giants’, describes the impetus and forward momentum provided by those brilliant people who came before and laid the groundwork for research such as this. My own academic momentum has been stimulated and inspired by the following giants; a mix of songwriters, musicians, educators, academics and scholars who have provided intellectual sustenance along the way in the form of a luminous trail of delectable breadcrumbs; delightful, marzipan and Swiss-chocolate thought-snacks to help me stay passionate about songwriting, music, education and research. In alphabetical order, the list includes (but is not limited to); John Baer, Tony Bastick, Howard Becker, Joe Bennett, Leonard Bernstein, Benjamin Bloom, Jason Blume, John Braheny, Margaret Boden, Pierre Bourdieu, Mihaly Csikszentmihalyi, Robin Fredericks, Simon Frith, Howard Gardner, Antony Gregorc, David Krathwohl, James Kaufman, Chris McDonald, Phillip McIntyre, Richard Middleton, Allan Moore, Keith Negus, Pat Pattison, Jack Perricone, Keith Sawyer, Robert Sternberg, Andrea Stolpe, Philip Tagg, David Temperley, Jimmy Webb, and Robert Weisberg. These (and many other) minds provided the clarity of thought, useful distinctions, and alluring questions that continue to propel my own thinking - for which I am completely grateful. At a personal level, I must especially thank these people specifically who facilitated, encouraged and guided my post-graduate journey; Greg White, whose enthusiasm and encouragement planted the first seeds of research curiosity, who identified the value of writing up what I have learned in my career, and who validated my strengths and gently highlighted my weaknesses in order to smooth the road ahead. David Cashman, who introduced me to academic writing, placed the notion of research and doctoral study squarely before me, championed my socialisation into the academy, and continues to be a most generous advisor and wise associate. iii Industry luminaries Graeme Connors, Andrew Farriss, Tony Naylor, Rai Thistlethwayte and Don Walker for giving me their valuable time, for revealing their songwriting process, and for sharing their unique songwriting perspectives. Phillip McIntyre, my doctoral supervisor who, having travelled down many of the roads I am travelling, allowed me to navigate them my own way, and graciously pointed to my destination when I floundered. In so doing he has become a most valued and dear friend; inspiring, generous of spirit, gentle of heart and wise beyond words. Mum and Dad, for their unconditional and continuing love, support, eternal optimism and encouragement, for making the many personal sacrifices needed to give me the music lessons, instruments, and resources throughout my developmental years (the first 50 or so), and who provided for me and my siblings a most peaceful, stable, positive and musical environment in which to grow. My daughters, Chloe and Sami, for completing our family and providing the motivation to continue growing and contributing, and who have long observed my maniacal attention to minutiae and uninterruptable focus, and simply smile lovingly at me. Finally and especially, thanks to my wife, Robyn, for her unswerving support, love, and patience; for making my highly-ordered world organic, nature-filled and beautiful; for keeping the world at bay when I’m deeply immersed in songs, recordings, research, study, hockey and playing the bass; for allowing me the freedom to compulsively pursue my various passions; and for subjugating her own needs, desires and passions in order that I may pursue mine – the most unselfish act of love imaginable – and one which propels me to excel at my every endeavour in order to validate her unconditional support. iv Contents Statement of Originality ................................................................................................................................. i Statement of Authorship ................................................................................................................................ i Declarations........................................................................................................................................................ ii Acknowledgements ........................................................................................................................................iii Contents ............................................................................................................................................................... v Index of Tables and Figures ..................................................................................................................... viii Abstract ............................................................................................................................................................... ix 1.0 Introduction ....................................................................................................................... 1 2.0 Methodology ................................................................................................................... 11 2.1 Introduction ............................................................................................................................................. 11 2.2 Ontology .................................................................................................................................................... 12 2.3 Epistemology ........................................................................................................................................... 13 2.4 Theoretical perspective ...................................................................................................................... 15 2.5 Methodology ............................................................................................................................................ 20 2.6 Methods and Strategies ....................................................................................................................... 24 2.7 Disadvantages and Advantages of Autoethnography ............................................................. 36 2.8 Conclusion ................................................................................................................................................ 43 3.0 Literature Review.......................................................................................................... 45 3.1 Introduction ............................................................................................................................................. 45 3.2 Sociocultural Approaches to Creativity ........................................................................................ 47 3.3 Creativity ................................................................................................................................................... 57 3.4 The Systems Model of Creativity ..................................................................................................... 86 3.5 Multiple Intelligence Theory ............................................................................................................. 97 3.6 The Seven (Original) Intelligences ...............................................................................................103 3.7 Songwriting Literature ......................................................................................................................109

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