Commentary V2 Proofed FINAL
!1 Sonic autoethnographies: six | records | of | the | listening | self Iain Findlay-Walsh Submitted in fulfilment of the requirements for the degree of PhD Music (Composition) School of Culture and Creative Arts College of Arts University of Glasgow February 2016 !2 Portfolio contents 1. Commentary (including portfolio on USB flash drive) 2. plastic 2 x CD case - corresponding to postface 3. 1 x CD wrapped in packing tape - corresponding to In Posterface: 1 4. 12” art print in PVC sleeve - corresponding to Somehere in 5. removable vinyl sticker - corresponding to _omiting in the changing room !3 Acknowledgements Thanks to Louisa-Jane, Blue and Bon Findlay-Walsh for providing the support and space to develop and complete this work. Thanks to Nick Fells and Martin Parker Dixon, who supervised throughout the project. Thanks to the following for supporting me in this work, providing opportunities to test and present parts of it, and contributing to the ideas and practice. Alasdair Campbell, Clare McFarlane, Tristan Partridge, John Campbell, May Campbell, Ruth Campbell, FK Alexander, Rob Alexander, Nick Anderson, Calum Beith, Rosana Cade, Liam Casey, Martin Cloonan, Lewis Cook, Carlo Cubero, Euan Currie, Anne Danielsen, Neil Davidson, Barry Esson, Stuart Evans, Paul Gallagher, Mark Grimshaw, Louise Harris, Paul Henry, Fielding Hope, Katia Isakoff, Bryony McIntyre, Emily McLaren, Jamie McNeill, Rickie McNeill, Felipe Otondo, Dale Perkins, Emily Roff, Calum Scott, Toby Seay, Sam Smith, Craig Tannoch, Rupert Till, Fritz Welch, Simon Zagorski-Thomas. !4 Abstract This commentary accompanies a portfolio of pieces which combine soundscape composition and record production methods with aspects of autoethnographic practice. This work constitutes embodied research into relations between everyday auditory experience, music production and reception, and selfhood.
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