(Chair: Ruth Herbert, University of Oxford)
Laudan Nooshin (City University London)
Between a rock and a hard place: discourse, practice and the unbearable lightness of analysis. Methodological challenges in studying creative process in Iranian (classical) music
Since the late 1980s, an important strand of my research has sought to understand the underlying creative processes of Iranian classical music, a tradition where the performer plays a central creative role and which is therefore often described as ‘improvised’, both in the literature and – since the mid-20th century and drawing on concepts initially adopted from European music – by musicians themselves. Methodologically, perhaps the greatest challenge is tracing the relationships between musicians’ verbal discourses – usually taken by ethnomusicologists as evidence of cognitive processes – and what happens in practice. Of course, the relationship is a complex one and the dual ethnomusicological methods of (a) ethnography and (b) transcription and analysis don’t always tell the same story. In the case of my work, there was a disjuncture between musicians’ discourse of creative freedom, albeit underpinned by the central memorised repertoireknown as radif, and the analytical evidence which showed the music to be highly structured around a series of what could be termed ‘compositional procedures’, but which are not explicitly discussed by musicians.