Simon Poole, University of Chester and Storyhouse

As a Senior Lecturer in the Faculty of Education and Children's Services I lecture across the arts and am deeply concerned with cultural education. More specifically I have lectured at a number of institutions on Music Practice, and also Music Technology as a discrete subject, but also within the context of education; due in the main to my experiences within the Music industry as a singer, songwriter, producer and record label owner (soil records), and of course my time as a Primary and Early Years teacher. In all, I have been song writing, singing, recording and releasing music for 25 years; I’ve now written a total of 7 albums and as ‘a loose kite’ I’m still writing today.

My areas of research interest are: Creativity; Folklore; Music; and the Philosophy of Education. I lead the Masters in Creative Practice in Education programme and am currently seconded to Storyhouse, Chester’s award-winning cultural complex. My role there is as Senior Lead in Cultural Education and Research. I am also vice-chair of the regions LCEP and lead curator of TEDx UoC.

Heading: Presentation "One Step Beyond: Further insights into perambulography"

Lenght: 45min

Introduction: A composer’s home and folk culture may have a significant influence upon their identity and how they compose. I was interested in drawing a connection between home and the physical landscape, and my sense of belonging, to develop a research practice that could explore folk culture through musical composition; this would initially be undertaken though, quite literally by drawing. By capturing an understanding of the landscape through drawing, which was immediate, the romantic and sentimental might be avoided, and instead allow for an expression of a pyscho-geographical understanding. The drawings would in turn, form graphic scores for composition. As a type of folk composition, the work builds upon, and to some degree challenges Greens (2001; 2002; 2008) widely accepted practices and body of research in informal music learning. This study does not offer any new pedagogy, instead akin to the few autoethnographic studies undertaken by ethnomusicologists, it highlights how composition as an arts-based research might offer an opportunity for practitioners in different educational settings to appreciate the relationships and values learners might embody when learning about their own identity through music.