This week at RMIT university, it is ‘break week’. In past years of study, this week has been something that i have relished at the midpoint of second semester, to get rejuvenated and enjoy some time to myself free of study-related endeavours.
For Honours, however, with just over two weeks left until our first draft submissions are due, i feel that some downtime will not in any way relieve my anxieties, but rather compound them. Thus, with the help of my study buddies – Ed and Steve – ‘say hi guys’…
I am poised to really try and make the most of this forthcoming week, using each day for close study and consistent writing, while attempting to find solutions to the structural issues that i have outlined in my previous posts.
I have found that starting the writing process earlier in the day rather than later seems to be a method that has paid dividends for me in recent weeks, and i will be trying to work in this fashion every day for the week ahead. Channeling the positive effects of a night’s sleep, a tasty breakfast and a hot cup of coffee into words on a page seems to set up similarly positive habits and work ethic for the remainder of the day (particularly if deep reading and note-taking needs to be done), and the morning’s words are fit for editing when you return to them later.
Of chief importance for my ‘break (study) week’ is to construct my case studies, so i can start to develop an idea of how the many ingredients of my thesis will look, smell and taste once they have all been delicately poured through the sifter and into the bowl.
There are four case studies. They are each different. The research i have done for each of the four studies does not really overlap, with each study representing different eras and different musical/technological/social approaches. Yet links need to be made between them, and this is my current goal.
What do my case studies tell us about the concept album’s current and potential future positions?
Do they support my claim that concept albums can represent the technological and socio-cultural contexts of their time?
Can these four examples be seen as representative of the concept album approach as a whole?
This week is likely to provide, at the very least, foundational answers to such questions.