4.1 Methodical approach

In this thesis, the chosen method is a combination of artistic research and action research. This chapter aims to clarify what artistic research entails, exploring its various interpretations and explaining why a particular perspective on artistic research suits my approach. To contextualize artistic research in practice, I will use a combination of text, recordings, videos, and pictures. I have combined action research into my approach since the research model I have created closely aligns with action research principles and therefore works as a combination of both research methods.

“Artistic development work covers artistic processes that lead to a publicly available artistic product. This activity can also include an explicit reflection on the development and presentation of the art product” (Jørgensen et al., 2007, p. 13, my translation).

Jørgensens definition contains three concepts that require further explanation. First, publicly Available emphasizes that artistic development work should be accessible to others, especially professional peers, for review and evaluation. Only when the work is made publicly available can it be utilized in a broader academic or pedagogical context.(Jørgensen et al., 2007, p. 14).

Second, reflection describes the deep thought process that is an integrated part of all artistic activity, where ideas and actions are tested and evaluated. This includes the use, assessment, and sometimes rejection of various methods, as well as the evaluation of results against goals and ideas. Reflection can be implicit, as a natural part of the creative process, or explicit, where the artist consciously expresses the thoughts behind the work. Explicit reflection can manifest verbally and through non-verbal forms of expression such as demonstrations or visual aids, contributing to a deeper understanding of the artistic work. (Jørgensen et al., 2007, p. 14).

Lastly, artistic product can be both works such as artwork, sculptures, literary pieces and performances such as concerts, theatre performances. These products result from creative activity but can also include elements of co-creation and improvisation. Co-creation occurs when artists interpret and bring new life to works created by others, while improvisation involves spontaneous creation during performance. The quality of artistic products is assessed differently depending on whether they are creative, co-creative, or improvisational in nature. (Jørgensen et al., 2007, p. 15).

In English, the term “artistic research” overlaps with different methods such as art-based research, practice-led research and practice as research (Dahl, 2022) . In "Conflict of the Faculties," Henk Borgdorff employs a trichotomy based on Christopher Frayling's published work in 1993 entitled "Research in Art and Design." Borgdorff's approach deviates from Frayling's, as he chooses to distinguish between r esearch on the arts, r esearch for the arts, and research in the art (Borgdorff, 2012, p. 37).

The term research on the arts is used to describe a type of research that treats art practices as the object of study from a theoretical distance. It aims to draw valid conclusions about art through reflection and interpretation without altering the art itself. An approach like this is common in humanities disciplines like musicology, art history, and literature, focusing on historical, philosophical, critical, and descriptive analyses. The key principle is maintaining a separation between the researcher and the art, allowing for an unbiased examination.

Research for the arts, described as applied research, this approach focuses on achieving objectives that directly benefit art practices. It involves conducting studies to provide insights and tools that can be applied in the creation of art. This research delivers practical knowledge and resources needed during the creative process, serving the art directly.

Research in the Arts, as Borgdorff states himself, is “the most controversial of the three ideal types” (Borgdorff, 2012, p. 38). This approach blurs the lines between the researcher and the artistic practice, embedding the research process within the creation and performance of art. It rejects the notion of separation between theory and practice, embracing the idea that art practices are inherently reflective and saturated with experiences, histories, and theories. Research in the arts aims to articulate and explore this embodied knowledge, making the creative process itself a subject of study:

“We can justifiably speak of artistic research (‘research in the arts’) when that artistic practice is not only the result of the research but also its methodological vehicle when the research unfolds in and through the acts of creating and performing. This is a distinguishing feature of this research type within the whole of academic research.” (Borgdorff, 2012, p. 147).

4.2 Choosing artistic research

At first, I was drawn to artistic research because it seemed like an "easier" way to approach my thesis, as making music feels more intuitive than writing traditional academic research. But as I began reading more about artistic research and the criticism surrounding it, my motivation shifted. I became more compelled to engage with the field not just as a convenient method, but as a meaningful challenge. I saw an opportunity to contribute to the ongoing conversation around how artistic research can develop stronger frameworks, while still respecting the intuitive nature of artistic work. This project became a way for me to explore that tension, to experiment with my own creative process and see if I could shape it into something that also holds academic value. I included action research in my research model to create a more structured approach, while still allowing space to deviate when necessary for the sake of the art.

Building on this approach, Darla Crispin offers insightful perspectives on the balance between methodological discipline and flexibility within artistic research. In my approach for this thesis, I set some boundaries regarding my research method. I allowed myself five minutes per guitar to develop an idea. However, my observation that these boundaries are being crossed to prevent stagnation in my artistic process/songwriting directly resonates with Darla Crispin’s discussion on the dynamic interplay between methodological discipline and flexibility within artistic research:

“Although artistic researchers generally distinguish between their research and their wider artistic practice, the boundary between the two is not impervious and while Artistic Research operates under certain methodological disciplines and constraints, artistic practice can be flexible and opportunistic in the ways in which it exploits any resource likely to contribute to the eventual success of the artistic project”. (Crispin, 2015, p. 63).

Borgdorff’s research in the arts approach will serve as a foundational pillar for my exploration of alternate tunings in songwriting. This enables a deep, practice-based investigation where the creation and performance of my art acts as both the research process and its outcome. Alongside research in the arts, I will take use of Crispin’s view on how flexibility and opportunism in artistic research makes it able to diverge from predefined methods or boundaries meaning I can adapt my research process in response to new discoveries and challenges, enhancing the creative outcome.

4.3 Artistic research

For the past 30 years in Norway there has been an ongoing discussion on the relationship between arts and research. In the 1990s, a conference in Åsgårdstrand sparked a significant debate. It highlighted that artistic activities are about individual creativity and building artistic skills, while research aims to create new, verifiable knowledge. Artistic research was seen as a unique blend of these, where artists not only create but also deeply analyse their work, sharing their process and outcomes with others. Following this conference, there was further discussion on how artistic work relates to research. A major consensus emerged: artistic practice and research are distinct yet complementary. This led to a significant change in 1995, with Norway's Universities and Colleges Act recognizing the term "artistic research" to be juxtaposed with other educational research methods (Jørgensen et al., 2007, p. 13).

In international discourses "artistic research" has established itself as a comprehensive term. In Norwegian, it is referred to as "Kunstnerisk utviklingsarbeid," which translates to "artistic development work." This terminology aligns with statutory data from Law on Universities and University Colleges: Carry out research and professional and artistic development work at a high international level" (Universitets- og høyskoleloven, 2005, §1-1, b, my translation).

In the paragraphs about the laws regarding artistic research in higher education there are no explanations to what artistic research is and how it’s supposed to be conducted. After reviewing various relevant materials, I came across several sources that stood out, beginning with a lecture I watched by Ned McGowan. In his video lecture “what is artistic research?” (McGowan, 2021, 2:30) he discusses the concept of artistic research, highlighting its distinction from other research forms like musicological or scientific research. Artistic research is described as a deeply personal and practice-based approach, where the researcher is actively involved in the creative process. This type of research is not about studying external subjects but is an introspective journey, where the artist both questions and answers through the act of creating art.

In artistic research, the artist's practice is central. It involves actively engaging in the art form (practicing, learning, experimenting) and using this engagement as a means of inquiry. This contrasts with other research types, where the researcher often maintains an objective distance from the subject. In artistic research, the artist is both the subject and the medium of research. This approach recognizes the unique knowledge and insights artists possess, often implicit in their practice. Artistic research involves transforming intuitive, action-based understanding (implicit knowledge) into a form that can be shared and understood by others (explicit knowledge). This transformation can be done through various means, including written text, videos, or other creative expressions. (McGowan, 2021, 4:25)

The process of artistic research involves several stages. It starts with formulating an artistic question, followed by data collection, which can include reading literature, interviewing experts, getting feedback on work, and other forms of research. Artists then engage in experimentation and reflection, considering how their findings impact their art. This leads to an intervention in their practice, where they apply their new insights, potentially altering their approach. The final output is an artistic product, accompanied by a document or presentation that articulates the process and reflections (McGowan, 2021).

Along with Ned McGowan's explanation of what artistic research is, I will further elaborate on various perspectives and approaches to this research topic, starting with Jørgensen-utvalget’s definition.

She further divides the process into three stages: input, process, and output, and explains how artistic practice can play a role in each of these phases. This is similar to the structure of action research, which operates as a cyclical process where reflection and practice continuously inform one another. This approach aligns well with the model I created to frame my own research process. In my case, the first cycle (act) led to analysis and reflection (observe & reflect), which then shaped the next session (re-plan). In this way, the creative process itself became both the subject and the method through which the research was conducted and articulated. 

4.4 Action Research

Darla Crispin presents several ideas that, to my understanding, align closely with the action research method. She states:

“Artistic research is distinguished by the fact that the researchers are not only themselves artists, but also use artistic practice as an integral part of the research that they conduct” (Crispin, 2015, p. 60).

Action: Five-Minute Sessions

Each session was video-recorded and audio-recorded to allow for later detailed review. In addition, I kept a recorded voice memo after each tuning cycle (after 5 sessions) to document immediate thoughts, emotions, and observations. In the first phase of the model, I began with one of the five alternate tunings, giving myself five minutes to flesh out an idea. The development of these ideas would vary; some just clicked instantly, providing a moment of creative serendipity, while others could prove to be more stubborn. At the end of the five-minute mark, I switched to the next tuning, further developing the initial idea. This repeated through all five tunings.

Observations & Reflections

In alignment with the action research model, after each action phase (songwriting session), I engaged in observation and reflection by reviewing recordings and systematically answering a set of prepared analytical questions. The questions included considerations on how the tuning(s) influenced the melody, harmony, vocal ideas, and the song’s lyrical and thematic content, as well as whether it spurred any unique chord progressions. I also reflected on any challenges posed by the tuning(s), their impact on creative flow, and the overall mood and atmosphere of the piece. These questions acted as guidance if I felt stuck in the analysis. Additionally, I determined whether any tuning felt particularly cohesive or inspired new vocal ideas, while also considering the impact of the five-minute time constraint on my creativity.

Here are the following questions I asked.

SubsequentResearch Cycle

After documenting my observations and reflections from the first cycle, I attempted a second round, applying the insights gained. The approach to this new cycle depended on the extent of creative progress made during the initial phase. If the first cycle resulted in a productive creative endeavour, leaving me with elements of a song, I focused on further developing ideas from the tunings that had proven most inspiring. For instance, if tunings three and four contributed little to the creative process, I chose to concentrate on the tunings that had yielded more promising material. While traditional action research models follow a fixed cycle of planning, action, observation, and evaluation, the unpredictable nature of songwriting made it crucial to incorporate a more fluid approach, allowing for sudden changes, reassessments, and adaptations for the sake of the creative process. This flexible shifting between exploration and reflection was essential for maintaining the organic flow of songwriting.

Observation & Evaluations

In this phase, I re-evaluate my progress. I considered whether any ideas had evolved into full songs and whether there was a clear motif that emerged for further development? Depending on these reflections from previous cycles I decided whether to continue refining the existing ideas or start from scratch. This phase allowed me to discard tunings that did not significantly contribute to creative process, allowing me to focus on more effectively developing a final product with less resistance. In addition to re-evaluating my creative progress and adjusting which tunings to develop further, I also made minor adjustments to the research model in order to better support my creative process, if necessary. I also made minor adjustments to the research model itself to better support the creative process where necessary. While the primary focus of the project remained on the influence of alternate tunings in songwriting, it became important to reflect on whether the structure of the sessions, such as the five-minute time constraint, was effectively facilitating creativity. I considered whether the timeframe imposed any unnecessary limitations. These reflections aimed to optimise the conditions for the songwriting process without shifting the focus away from maintaining artistic flexibility within the model.

4.7 Criticisms

Artistic research has faced substantial criticism since its introduction into academia. I have already touched on some of its historical background, as well as the Norwegian laws that justify it as a legitimate form of academic research. However, this does not mean I am naïve to the ongoing debates and criticism it continues to face. In this section, I will highlight some of the key perspectives, which I will revisit and expand upon in the discussion chapter.

Borgdorff argues that artistic research is often challenged in terms of its legitimacy and compatibility with traditional academic research methods. He identifies two dominant lines of critique: one from within the arts and one from within academia. The critique from the arts expresses concern that institutionalising artistic practice may restrict creativity and reduce artistic freedom. On the other hand, the academic critique resists including artistic research in formal research structures, viewing it as lacking scientific rigour. (Borgdorff, 2012, pp. 4-6). Borgdorff makes a valid argument by acknowledging both sides of the debate, stating:

“It is not helpful when people give up the struggle beforehand by ossifying the antithesis between artistic and academic research. The challenge lies in exploring whether and how artistic research could cohere with academic research” (Borgdorff, 2012, p. 6).

This correlates with Darla Crispin’s stance on “methodological opportunism” as mentioned in chapter 3.2. Borgdorff addresses the tension between artistic and academic research, while Crispin proposes a flexible and adaptive approach to methodology. Both highlight the dangers of rigidly separating artistic and academic practices, and advocate for a more flexible, dynamic, and open-ended approach to research. In the context of this thesis, this flexibility supports a methodology that allows for creative, subjective, and academically reflective processes to coexist.

4.5 Ethics

I own all rights to the material created for this thesis. This includes recordings, snippets of ideas, and the results of my compositions, which are made available to the reader/listener. This is important, as it allows me to share all empirical data collected through my research without facing legal issues regarding copyright. At the same time, I am protected under Norwegian copyright law, specifically:

§ 2(a): "Tekster av alle slag, blant annet av skjønnlitterær og faglitterær art," which translates to "Texts of all kinds, including both literary and non-fiction works."

§ 2(d): "Musikkverk, med eller uten tekst," which translates to "Musical works, with or without lyrics." (Åndsverkloven, 2018)

All instruments and recordings used in this thesis are performed and produced by me in my private studio. No external musicians are involved in the production, and there is no need for compensation or licensing agreements at this stage. The final musical product will be published on ResearchCatalogue.net.

Figure 1.
An Action Research Cycle. Reprinted from All You Need to Know About Action Research by (McNiff, & Whitehead, 2006, p.6)

4.6 AI disclaimer

As I am diagnosed with dyslexia, I have used AI as a tool for grammar check and to enhance my text. However, no actual content has been generated by AI, nor have I used AI as a source of information. Further, no AI has been utilized in the creative processes described in this thesis.

“Action research is a form of enquiry that enables practitioners everywhere to investigate and evaluate their work. They ask,” What am I doing? What do I need to improve? How do I improve it?” Their accounts of practice show how they are trying to improve their own learning and influence the learning of others” (McNiff, & Whitehead, 2006, p.7).

Based on this description of what action research covers, it is particularly well-suited for my approach in artistic research because it allows for repeating cycles, experimenting and reflection. Rather than testing a hypothesis in a controlled environment, the focus is on lived experience and change within the process itself. This is crucial to my research within art focusing on alternate tuning where the process of making can’t be predicted in advance (McNiff & Whitehead, 2006, pp. 7, 9-11).

To adapt to the methodological approach of action research, I developed my own model, which incorporates many of the same features presented by McNiff & Whitehead. Drawing on the theoretical frameworks described above, I created a step-by-step model to guide my research process:

Figure 2. Research model (private photo).