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Applications of reflective analysis in pop drumming and drum pedagogy

Thesis · September 2018

DOI: 10.13140/RG.2.2.18430.23366

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Applications of reflective analysis in pop drumming and drum pedagogy

Pravir Ramasundaram

Year 1

Mmus Popular Music Performance

M-Level Project

MPOPMU001E

Project Guide: Dr. Sara McGuinness

University of West London

South Ealing, London

14th September 2018

 Reflective analysis & Pop Drumming 2

Table of contents

List of tables…………………………………………………………………………….4

Abstract………………………………………………………………………………….5

Introduction……………………………………………………………………………...5

A. Defining reflective analysis…………………………………………………………..6

A.1 Components identified

A.1.1 Purposive Listening

A.1.2 Reflective Practice

A.1.3 Group Analysis

B. Methodology…………………………………………………………………………...9

B.1 The PBR part - rehearsals in original composition

B.1.1 Manner in which session were conducted

B.1.2 Recording techniques employed

B.1.3 Further production

B.2 Interviews

B.2.1 Phenomenological data analysis

C. Observations from PBR experiment………………………………………………...13

C.1 How participants conducted reflective practice

C.2 The Creative Outcomes - produced tracks

C.3 Discussion

D. Findings from the interviews………………………………………………………….17

 Reflective analysis & Pop Drumming 3

D.1 Quantitative analysis

D.2 Phenomenological analysis

E. Critical Evaluation & Avenues for Further Research……………………………...21

F. Conclusion……………………………………………………………………………..22

References …………………………………………………………………………………...23

Bibliography ……………………………………………………………………………………26

Appendices……………………………………………………………….https://bit.ly/2xg3HZc

Appendix 1 -

Appendix 2

Appendix 3

Appendix 4

Appendix 5

Appendix 6

Appendix 7

Appendix 8

Appendix 9

Appendix 10
 Reflective analysis & Pop Drumming 4

List of tables

1. Results of performance analysis on Track 1……………………..15

2. Results of performance analysis on Track 2……………………….16

3. Master List of themes………………………………………………...19

 Reflective analysis & Pop Drumming 5

Abstract

The purpose of this study is to investigate the extent to which reflective analysis is

understood and is being used by drum educators as a practice technique. Practice

based experiments were conducted with different drummers to observe the effects of

this technique on original compositions. This led to distinct components of reflective

analysis being identified. A series of interviews was then conducted with drum

educators to understand their impressions of this technique and its components and to

gather their opinions on the inclusion of a proposed supplementary pedagogical tool.

Findings show that the application of reflective analysis can produce unique creative

outcomes and that educators are interchangeably employing the components of this

technique to various degrees in their teaching as well as on their own, at times even

unaware of this term. This study has been confined to the musical domain of popular

music. Implications are discussed for drum educators.

Introduction
1
Popular musicians can tend to engage in several practice techniques. Like practitioners

in other disciplines, popular musicians can sometimes be unaware (Schön, 1983) of the

methodology they are employing. They simultaneously use different components of

reflective analysis. Though popular music education has come a long way since its

introduction into music education in the late 1960s (Dunbar-Hall et al., 2000), much is

still being learnt about the way popular musicians practice and learn (Green, 2001). The

1
Musicians who play/perform/produce popular music genres in a professional or non professional
capacity.
 Reflective analysis & Pop Drumming 6

area of focus in this study is on one particular subset of popular musicians - drummers

and percussionists and their approach towards reflective practice and analysis

techniques. This was done primarily to narrow down the scope of the project and also

due to the author’s personal interest in learning more about different practice techniques

employed by other drummers. The project attempts to answer the following research

questions:

● What change can reflective analysis bring to pop drumming?

● How is it currently being used in drum pedagogy and how can it be applied more

effectively?

Reflective practice can take on a different meaning for every musician who uses it. An

attempt at defining this process in a broadly applicable way could pave the way for

understanding why this is so.

A. Defining Reflective Analysis

Philosophy was one of the first disciplines that attempted to define the process of

reflective analysis. The term lends its roots to phenomenology, a method of inquiry

developed by German philosopher Edmund Husserl in the 1900s (Embree, n.d.).

Phenomenology itself is not a concept far removed from music.

Stated simply, it is “based on the premise that reality consists of objects and events

("phenomena") as they are perceived or understood in the human consciousness, and

not of anything independent of human consciousness.” (Phenomenology - By Branch or

Doctrine - The basics of Phenomenology, n.d.).

 Reflective analysis & Pop Drumming 7

Embree (n.d.) talks about observing “previously overlooked” things and calls this activity

“reflective observation”. On the other hand, Schön (1983) sheds a bit more light on what

a practitioner might do after this observation - conduct an “on-the-spot experiment” with

his newly constructed description of the phenomenon. This may yet lead us to propose

a moderately relevant definition for reflective analysis in music:

A process by which a practitioner changes his/her perception of a piece of

recorded music or a performance by first critically observing its characteristics or

constituent parts, and then conducting experiments to sample new ideas produced as a

result of the observation.

As it can be seen, this process in itself has the potential to be divided into a number of

components.

A.1. Components identified

Some activities that were undertaken during the first set of experiments were loosely

identified as components. As the project progressed and some interviews were

conducted, it became clear that some of them could not be distinctly classified,

especially, in-depth analysis (term coined for describing critical observation of

performance parts) and trial and error based analysis (term used to describe the

exercise of trying out different variations on a performance). However, it is pertinent to

list out these components here as their identification through the experiments helped

shape this study.

 Reflective analysis & Pop Drumming 8

A.1.1 Purposive Listening

Green (2001) describes three types of listening employed by popular musicians -

purposive, attentive and distracted listening. Purposive listening is described as having

“the particular aim or purpose, of learning something in order to put it to use in some

way after the listening experience is over.” (Green, 2001, p.23)

Though Green also applies this definition to listening while playing an instrument, this

project laid emphasis only on the listening part. Active listening while playing an

instrument was identified as part of the next component.

A.1.2 Reflective Practice

This component was defined as follows in the surveys that were conducted:

It is the process of looking very closely at certain parts of one’s performance in a

live or studio setting and deciding whether to change or retain those parts through solo

practice.

We have excluded group practice from this definition as the focus is on practitioners’

use of this technique while practising solo. Rinaldo (2002) reminds us that reflection in

music is an opportunity to communicate our innermost thoughts. Encouraging students

to perform reflective practice has also been found to foster autonomous learning and a

collaborative spirit (Carey et al., 2016).

A.1.3 Group Analysis

 Reflective analysis & Pop Drumming 9

Unlike the other two components, Group Analysis was distinctly identified as an activity

that is done when the practitioner is in a group. In the surveys, it was defined as follows:

A form of analysis where one performs purposive listening followed by an

exchange of ideas, feedback and criticism with a group of musicians, producers, etc.

Burnard et al. (2016) discuss the concept of “confluence or co-influence” of ideas that

aid collaborative creativity, in their work on group instrument learning. This is of special

relevance here. Some of the survey respondents have had vast experience working in

recording studios and thus interesting insights on this component were gained as some

of them talked about their experiences.

B. Methodology

Research exercises undertaken in this project are explained in two parts. The first part

was primarily a practice-based research endeavour (hereafter referred to as “PBR”),

with phenomenological analysis also being performed on the thoughts and views of

participants. The second part dealt with the collection of quantitative and qualitative data

through interviews conducted with drum educators. Subsequently, a phenomenological

and quantitative analysis was conducted on the data gathered.

B.1 The PBR part - rehearsals on original composition

Three participants were involved in this part of the project - two drummers and a

vocalist. An experiment was designed to observe what the two drummers would

compose on the same original song through reflective practice. There was some
 Reflective analysis & Pop Drumming 10

difficulty in finding a suitable, well-documented approach to base the exercise on as can

be the case at times in this domain (Redgate, 2015). Despite this, there were basic PBR

principles that strongly guided the design of this experiment - “an original investigation

undertaken in order to gain new knowledge partly by means of practice and the

outcomes of that practice.” (Candy, 2006).

B.1.1 Manner in which sessions were conducted. Two original songs composed by the

author were sung and played to the drummers with a guitar by the author in their most

skeletal form (Refer Appendix 1). This was done to ensure that the participants were not

influenced to play a certain way, as that could have compromised the creative outputs.

The initial impressions by the participants on the songs were developed further through

the exchange of ideas, feedback and constructive criticism. At times, the creative ideas

of the participants led to changes in the arrangement. As the sessions progressed, the

style and approach taken by the drummers also affected the author’s own performance.

When an arrangement and manner of performance were mutually agreed upon by both

the author and the participant, the songs would be played one last time. Those

particular takes were the ones that were used to illustrate the creative outputs of the

participants.

B.1.2 Recording techniques employed. Audio-visual recordings of both sessions were

made. The session with Lorenzo was conducted at Paragon Studios. Multi-track

recordings of the whole session were produced. Due to availability constraints, the
 Reflective analysis & Pop Drumming 11

session with Matt was conducted in a practice room. There was considerably less

amount of time and effort involved in setting up the session but the audio recording

obtained was from the video footage which was produced using an iPhone.

B.1.3 Further production. To better illustrate and contextualise the results from the

reflective practice exercise, performance analysis was conducted on the results. An

attempt was also made to add more colour to the results by adding guitar and bass

parts and also replacing the author’s guide vocals with parts by another vocalist. The

analysis resulted in a comparative study of the drummers’ performances through

transcription of selected parts. The analysis also informed the creative output (Candy,

2006) produced by the recording of additional layers on the songs. The term

“performance analysis” can sound a bit ambiguous (Rink, 2015) and appear to overlap

in meaning with some of the terms discussed so far. Apart from the classical view of

performance analysis which guided the transcription, Rink’s (2015) definition can be

considered very similar to what transpired during the production of the tracks - “the type

of analysis that precedes and potentially informs the performance in question.” (Dack et

al., 2015, p. 127)

B.2 Interviews

This part of the project had the following objectives:

● Understand what reflective analysis means to the respondents

 Reflective analysis & Pop Drumming 12

● Gather information about the degree to which they use reflective analysis

and the manner in which they use the technique in their own practice

● Understand the manner in which they currently ask their students to

conduct reflective analysis

● Get their thoughts on whether a proposed supplementary teaching

technique would be beneficial

The interviews were conducted over phone calls, and respondents were made aware

that the calls were being recorded to aid in qualitative analysis. Quantitative data was

also collected, for example, the number of years the respondents had been playing and

teaching, the number of students they taught during the busiest times of the year and

the age groups most of their students fell into. Google Forms was used to collect the

quantitative information. The answers were recorded manually by the author during the

calls.

B.2.1 Phenomenological data analysis. A total of 8 drum educators were interviewed

and each interview lasted an average of 30 minutes, creating a sizeable amount of

quantitative data that had to be analysed. Due to the reflective nature of the interviews,

the views and thoughts of the respondents proved to be quite crucial. The chosen route

for analysing the interviews was phenomenological data analysis. Therefore, the

interviews were first transcribed, and care was taken to avoid inferences as the

technique involved exploring what the respondents had to say about the phenomenon
 Reflective analysis & Pop Drumming 13

being studied (Pulman, 2014). Hycner (1985) lists transcribing as an “obvious yet

important step”. The coding process was done manually, and a hierarchy of inter-linking

themes was created from the data set (James Woodall, 2016, 06:00). This aided in

understanding the views of respondents that aligned together and which stood out from

the rest.

C. Observations from PBR experiment

It is worth noting that the manner in which the participants carried out reflective practice

is as equally important as the creative outcomes. The author would like to reiterate that

the practice methods were studied using raw recordings of the session while the

creative outcomes were developed further by adding additional layers of guitar, bass

and vocals before being analysed. Study of the practice can be viewed as a mix of

phenomenological and performance analysis. The creative results or produced tracks

were analysed using purely performance analysis techniques.

C.1 How participants conducted reflective practice

The practice methods employed by both participants had the following similarities:

● Both participants did not interrupt when the songs were first played to them. This

is significant as it showcases a higher level of discipline.

● The participants enquired about the context of their performance. They wanted to

know if they were to approach it as drummers jamming with a singer-songwriter

 Reflective analysis & Pop Drumming 14

or a band. There was a shift in their dynamics and attitude once they were told

that they had complete freedom in this regard.

○ Both drummers experimented with different sounds to come up with basic

ideas for their parts and in pursuit of the most sympathetic sound that

would have suited the session. This included using brush sticks,

disengaging snare strands and playing on the snare with bare hands

(Refer Appendix 2).

● Both participants were actively reflecting on the variations they were coming up

every time they played through the song. They seemed to be committing the

most musical characteristics of each variation to memory and would sometimes

discuss them before going through the song another time.

Some observations were unique to the participants:

● Participant 2 used vocables2 to communicate ideas on two occasions - to

describe a bassline (purposive listening by the author to this influenced the

further production of the tracks) that he was imagining while practising and to

justify why he felt the groove he had chosen was more empathetic to the

message of one of the songs.

● Participants 1 and 2 led the session in noticeably different manners. While

participant 1 would usually discuss ideas and wait for the author to count the

song in while participant 2 took a more conductorial approach, counting the song

2
A word, especially with reference to form rather than meaning. (Oxford Dictionaries, 2018)
 Reflective analysis & Pop Drumming 15

in almost immediately once he had a new idea. This could probably be due to

participant 2’s vast experience as a jazz conductor (Callum Au, 2015).

C.2 The Creative Outcomes - produced tracks

Two original songs composed by the author - Pills Don’t Work (hereafter referred to as

“Track 1”) and Here (hereafter referred to as “Track 2”) were used to conduct the

sessions. Though the development of the tracks and performance analysis were

explained at the presentation conducted at Lawrence Hall, University of West London,

these are some results from this part of the exercise that is worth revisiting:

● Refer Appendix 3 for respective versions of Track 1 by both participants

● Refer Appendix 4 for respective versions of Track 2 by both participants

● Performance analysis was conducted on selected sections from each version of

the tracks. Results are summarised below for track 1:

Participant 1 Participant 2

(See Appendix 5 for transcription & (See Appendix 6 for transcription &
clip) clip)

Accented kick on 1, locks in with guitar 16th note brush strokes create texture
strum similar to shakers

Choice of using different sounds on Hi hoot foot notes on 2 and 4 are a

backbeats on 2 and 4 strong, yet subtle pulse

Tom note at end of each bar creates

illusion of space

Table 1. Results of performance analysis on Track 1

 Reflective analysis & Pop Drumming 16

● Performance Analysis results are summarised below for Track 2:

Participant 1 Participant 2

(See Appendix 7 for transcription & (See Appendix 8 for transcription &
clip) clip)

1st bar has synchronised stops Phrase has spaces and hi hat accent
on the ‘a’ of ‘4 e & a’

Interesting contrast with use of snare Cross stick on 2 and 4 maintains pulse
ghost notes in 1st bar and cross stick
on 2 and 4 in the 2nd bar

Groove maintains momentum in the

chorus despite double-timed feel in
2nd verse

Table 2. Results of performance analysis on Track 2

C.3 Discussion

Both participants demonstrated a very high level of capability in employing reflective

practice to produce empathetic yet unique performances. Observations such as the

purposive listening done before attempting to play the songs draw our attention towards

the quality and discipline involved in carrying out the practice. Keeping in mind that the

sessions lasted an average of 45 minutes, the results from the experiment also show us

the effectiveness of the technique in a limited period of time. We can also infer that

actively listening and bouncing off ideas with other musicians in the ensemble or with

oneself (it seemed so at times with Participant 1) can also avoid the problem identified

in prior literature (Pulman, 2014), of fatigue that can cause rehearsals to become

monotonous. Rather than being viewed as a creative constraint, being aware of the
 Reflective analysis & Pop Drumming 17

context of one’s performance can aid in choosing elements that will lead to an

empathetic performance. Vocables used by Participant 2 emerged as a pedagogical

method that has been cited as such in other literature (McLean et al., n.d.). Moreover, it

can also be noted that the reflective practice enabled more ideas to be added during the

production stage without making the tracks any less musical. In addition to these

observations. findings from the interviews helped further contextualise the answer to the

research question identified in this project.

D. Findings from the Interviews

As explained before, the interviews produced quantitative as well as qualitative data.

Due to the small number of respondents and the reflective nature of the interviews, the

qualitative data gathered was of significantly more importance.

D.1. Quantitative analysis

It is to be noted that 1 out of the 8 respondents wasn’t a music educator at the time of

the interview and therefore, some of the quantitative questions weren’t applicable. Here

are the quantitative results that emerged from the interviews:

● Among the respondents (who were drum educators based in UK and India),

Rock, Pop and Jazz were the three most chosen options for genres the

respondents played with scores of 7, 5 and 5 respectively.

● 7 out of the 8 respondents had formal music qualifications.

● 4 respondents have been teaching music for at least 10 years.

 Reflective analysis & Pop Drumming 18

● At the busiest times of the year, 5 respondents were teaching 10-20 students on

a one to one basis while 2 were teaching nearly 20-30.

● All respondents confirmed that they taught music every week.

● 3 respondents said that most of their students fell into the age group of 10-15

years of age while 4 claimed that most of their students were above 15 years of

age.

These findings did not have any major implications for the project. They merely helped

in providing some background information on the respondents.

D.2 Phenomenological Analysis

As we can recall, qualitative data collected through the interviews were the respondent’s

answers to questions which enquired about:

● What reflective analysis meant to them

● The degree to which they used the identified components of reflective analysis

● The manner in which they currently ask their students to conduct reflective

analysis

● Their thoughts on a proposed supplementary teaching technique, where they

would conduct reflective analysis with their students on recent recordings of

rehearsals, gigs or studio productions done with bands outside the classroom.

The proposal was based on positive results on the use of reflective journals in a prior

study (Lebler, 2007). A high level description of the supplementary technique was given

to the respondents during the interviews as proposing a defined set of pedagogical

 Reflective analysis & Pop Drumming 19

features was outside the scope of the project. After the coding process was completed

on the interview transcripts, a hierarchy of inter-relating themes was identified. The

method for defining these themes followed Attride-Stirling’s (2001) model which

identified three levels of schemes - “basic, organising and global themes.” The analysis

conducted here did not require a global theme to be identified. The table below is an

overview of the basic and organising themes that emerged.

Tools Context & Purpose Attitude towards Feedback on proposed

practice module

Use of audio/visual Listening with an Exchanging ideas in Agreement on it being

recordings objective studios/rehearsals/meet beneficial
ing

Use of notation/music Being aware of context Being open minded to Unable to pick the best
scores within musical unit feedback component

Availability of teaching Reflective practice Positive mindset More preference for 1

rooms for practice useful for individual enables effective to 1 approach
development reflective practice compared to group
sessions

Reflective practice Always having different Divided opinion on

done for new project or approaches ready frequency of classes
assignment

Table 3. Master List of themes

Use of audio/visual recordings for purposes of reflection were cited by many of the

respondents. Comments were made about the way in which these recordings aided in

improving form, technique and quickly evaluating the quality of their own performance

for an upcoming engagement. 2 of the respondents mentioned how they possessed a

greater overview of what they were playing in certain critical sections by notating what
 Reflective analysis & Pop Drumming 20

they were doing on the spot. 2 respondents talked about how teaching rooms were

easily accessible resources to conduct reflective practice when they arrived early or a

student was late for class. When asked about purposive listening (which most claimed

they did on a daily basis), almost all respondents stated that there was always an

objective which guided that activity. Some of the more senior educators in the sample

remarked that it was sometimes easy to lose sight of the bigger context in which

drummers and percussionists usually find themselves. They also added that achieving

the highest quality performance from the group which a drummer is a part of should

always be the goal that guides all reflective analysis endeavours. The sample group

was divided in an equal split on how they used reflective practice for individual skill

improvement as opposed to preparing for the next engagement. Four respondents cited

their experience of using group analysis to be mostly in recording studios and also

considerably less frequent than the other two components. They all emphasised in

different ways how crucial it was to be proactive, receptive, open-minded and to have a

positive mindset while analysing music in a group. Though all respondents agreed that

the proposed supplementary module would be beneficial to their students in principle,

some of the respondents could not choose any one component to be the most useful.

All of them also provided varied answers when asked how often they would have

organised such sessions if it were made part of their pedagogical technique. They also

remarked that choosing between one to one and group sessions for this module would

be a tough choice to make as it was dependent on the context, content and complexity

of the material that was to be analysed. When asked how they would prefer it if a
 Reflective analysis & Pop Drumming 21

student was not able to bring their band or group to the session, most of them quickly

said that one to one would be preferable.

E. Critical Evaluation & Avenues for Further Research

Reflecting on the outcomes of the project and methodologies employed brought some

points to light which if addressed, could have produced more comprehensive results

and greater scope for further research:

● A higher number of respondents could have been interviewed. This would have

produced a more varied collection of quantitative and qualitative data.

● Interviews could have been conducted in a more neutral manner which would

have ensured that respondents were not biased to give a certain answer. For

example, during one of the interviews, the author prompted an answer to a

certain question by saying “Which of the above discussed components do you

find to be the most useful? Most respondents said reflective practice.” Though it

was not intentional, the conversational form of the interview caused a loss of

focus on the primary task of recording unbiased answers.

● The proposed supplementary teaching method could have been researched

more by documenting a few trials with another educator and his students.

Recording “before and after” evidence of any changes reported in the student’s

performance after the trial run could have also produced some compelling data.
 Reflective analysis & Pop Drumming 22

F. Conclusion

The project developed a broadly applicable definition for reflective analysis that is

relevant for a particular subset of popular musicians - drummers and percussionists.

Through PBR experiments conducted with drummers on original compositions, three

distinct components of reflective analysis were identified - purposive listening, group

analysis and reflective practice. The creative outcomes from the exercise showed us

that the application of reflective analysis could lead to unique results bringing out the

individuality of both drummers and deeply influencing further production processes as

well. Interviews were conducted with eight drum educators and the qualitative data

produced was phenomenologically analysed and revealed the following:

● The majority of the respondents encourage their students to conduct reflective

analysis(most of them were not using this term) few times or at least once a

week.

● Nearly all of the respondents reported using reflective analysis with a clear

objective in mind - either personal skill development or preparation for an

upcoming engagement.

● Having the right attitude (receptive, approachable, positive and relaxed) is

necessary to extract the most out of a reflective analysis session.

● All the respondents agreed that the supplementary teaching tool using reflective

analysis would be helpful for students. The respondents’ comments indicate that

the periodic review and analysis of their work outside the classroom would help

educators better gauge their development.

 Reflective analysis & Pop Drumming 23

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Reflective analysis & Pop Drumming 26

BIBLIOGRAPHY

Green, L. (2001). How Popular Musicians Learn.

Schön, D. (1983). The reflective practitioner.