Creating Memories: A Cartography of Musical Learning

  • Phoebe Green
Part of the Creativity, Education and the Arts book series (CEA)


When a newly written score comes to a musician there may be different learning strategies the performer must employ. With no recordings to influence, no performance tradition passed through generations of teachers to respect and draw on, the performer must rely on their experience and embodied knowledge at the time of learning, as I did in learning James Rushford’s solo work for viola Untitled (2012). This landmark work in Australian viola repertoire confronts the performer with extreme challenges rarely or never seen before in viola repertoire. I premiered this work in 2013 and have subsequently performed it three times and am now preparing the work for recording. This chapter presents the wrestle of the creative and analytical minds that occurs when becoming the conscious autoethnographer, and seeks to encourage the conversation that conscious autoethnography has in personal practice to create meaningful outcomes and its potential for further development and growth.


  1. Bartleet, B. L., & Ellis, C. (2009). Music autoethnographies: Making autoethnography sing/Making music personal. Brisbane: Australian Academic Press.Google Scholar
  2. Billone, P. (1995). ITI KE MI. Italy: Self-published.Google Scholar
  3. Brown, R. M., & Palmer, C. (2012). Auditory-motor learning influences auditory memory for music. Memory & Cognition, 40, 567–578.CrossRefGoogle Scholar
  4. Fischer, S. (1997). Basics: 300 exercises and practice routines for the violin. United Kingdom: Peters Edition.Google Scholar
  5. Flesch, C. (2000). The art of violin playing book one (E. Rosenblith, Trans.). New York, NY: Carl Fischer.Google Scholar
  6. Galamian, I. (1985). Principles of violin playing and teaching (3rd ed.). Ann Arbor, MI: Shar Products Co..Google Scholar
  7. Giorgio, G. A. (2013). Reflections on Writing through Memory in Autoethnography. In S. Holman Jones, T. E. Adams, & C. Ellis (Eds.), Handbook of Autoethnography (pp. 406–424). Walnut Creek, CA: Left Coast Press.Google Scholar
  8. Rushford, J. (2012). Untitled. Melbourne: Self-published.Google Scholar
  9. Rushford, J. (2014). Sketching a background for artistic practice. Unpublished manuscript, California Institute of the Arts, Los Angeles, CA.Google Scholar
  10. Schick, S. (2006). The Percussionist’s Art: Same Bed, Different Dreams. New York: University of Rochester Press.Google Scholar
  11. Tedlock, B. (2013). Braiding evocative with analytic autoethnography. In S. Holman Jones, T. E. Adams, & C. Ellis (Eds.), Handbook of Autoethnography (pp. 358–362). Walnut Creek, CA: Left Coast Press.Google Scholar
  12. Voegelin, S. (2010). Listening to noise and silence: Towards a philosophy of sound art. New York: Continuum.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Phoebe Green
    • 1
  1. 1.Griffith UniversityNathanAustralia

Personalised recommendations