We are very excited to announce that, following the successful submission of 4 journals to the Directory of Open Access Journals (DOAJ) earlier this year, we have now had the Fields journal accepted too, bringing our total to 5 journals indexed in DOAJ!
We would like to say a big thank you to the DOAJ team for being helpful and supportive throughout the process, and we are very happy to see these high quality, open access journals, indexed and discoverable on the DOAJ platform.
Fields Journal of Huddersfield Student Research
ISSN: 2057-0163 (Online) https://www.fieldsjournal.org.uk/
Peer review Subject: General Works Date added to DOAJ: 15 Oct 2019 Record Last Updated: 15 Oct 2019
Journal of Creative Music Systems
ISSN: 2399-7656 (Online) https://www.jcms.org.uk/
Double blind peer review Subject: Music and books on Music: Music | Science: Mathematics: Instruments and machines: Electronic computers. Computer science: Computer software Date added to DOAJ: 30 May 2019 Record Last Updated: 30 May 2019
Are you an undergraduate student who is interested in submitting your work to a professional research journal? Fields: journal of Huddersfield student research is a yearly publication, which showcases outstanding research from all seven schools within the university. Submissions can be in the form of a journal article or even a collection of poetry, music scores, photographs or a case study. To take part, get in touch with your dissertation/project tutor, or visit the Fields website to contact a member of the editorial team to see how you could be published in this year’s edition.
Benefits of getting published:
Raise the profile of your work and get interest and feedback from other academics and professionals.
Gain experience of the publishing process and a professional publication to enhance your CV.
Benefit from the support of a professional team through a writing retreat and drop in advice session.
Receive a £400 bursary upon submission of your final article.
Contact your dissertation/project tutor and tell them you are interested in submitting your work to Fields.
Once you have contacted a member of our editorial team, or your tutor, they will put you in touch with the publishing team to find out about the submission, review and publishing process.
Publishing in Fields is a fantastic opportunity to take your studies and degree to the next level, the Fields journal is an accredited, well-respected publication, that encourages its authors to aspire to more –check out our blog posts from previous Fields authors to find out what they thought of the opportunity.
Music student John Aulich published an article about his research in Issue 2 of our student research journal Fields. We caught up with him for a chat about his work and his experiences getting published.
In the summer of 2015, I was invited to prepare a piece I had written in the third year of my undergraduate studies for inclusion in the second volume of FIELDS. ‘Power, agency, deference and difference: Examining the politics of composer–performer relationships in the wake of recent innovations’ explored the notational praxes of three radically divergent composers to try and uncover the ways in which they might limit or encourage interpretative agency on the part of performers. The paper was one among a number of tentative early steps on a wider research trajectory concerned with the immediate political ramifications of particular pieces of music. In other words, to ask how a piece establishes hierarchies between performers, composers, and audiences at the moment of performance. For me, the emergent political microcosm that a performance inhabits is as integral to what music is or could be as more obvious specifics, such as notes, chords and rhythms.
While further research has since led me to new positions not entirely congruent with the implications and conclusions of that particular paper, being invited to publish and continuously advised by experienced scholars throughout the process gave me the confidence to develop new lines of inquiry. It was an indication that I might be onto something; that somebody somewhere thought it a valuable contribution of potential interest to the wider academic world. Further, participating in Fields allowed me to join a community of colleagues in the same position, whose incredibly diverse research interests caused me to see much more fertile grounds for cross-pollination than I had thought possible, from sociology to biomedical science. To borrow an illustrative concept from the urban sociologist Richard Sennett, the boundaries between our specialisms became fluid sites for the exchange and transformation of ideas: bustling hedgerows as opposed to concrete walls. Such was the impact of this realization that its resonances carried through my master’s research and into the heart of my current interests as a practising composer.
Inspired by the broadening sphere of influence on my creative world, my master’s research sought to turn the gaze of political analysis to my own work. By casting out the critical theory that strongly informed the paper published in FIELDS, I was able to reimagine musical processes and concepts as analogous with aspects of the material world, using post-structuralist materialist philosophy as a theoretical basis. I reimagined the score, for example, as a biological cell-like space with its own agency: it could both absorb and react to a specific performer’s energies, and resist them. To borrow a Tim Ingold idea, rather than read the score, a performer would instead correspond with it. In Condensation (Strike Work) (recording), the music can only take form through an exploration of possible speeds by a specific performer. Like Manuel DeLanda’s Deleuzean metallurgist, a performer cannot impose the final form so much as tease it out.
Where I had previously imagined freedom to be the degree to which a performer can exercise their interpretative will uninhibited, I now imagine it to be more akin to the potential for new possibilities to emerge from this kind of correspondence. For Πολυτροπος [Polytropos] (recording), a later piece which I developed with the bass clarinetist and improviser, James Wood, this notion of correspondence took a more qualitative form in what I called the ‘flow rate’ line. To quote from the performance notes, ‘When the line is at its thinnest, performers should dwell in the material, pay more attention to detail, and take as much time as is necessary to execute the particulars as given. When the line is at its thickest, performers should hack through the material, allow for a high degree of inexactitude, and move faster.’
Since completing my master’s degree, I’ve also explored the notion of correspondence with new technology. In an as-yet-untitled piece for fellow composer and violist Adam Sangster, the performer works with a computer algorithm that tends towards certain behaviours, but nonetheless reacts to his sounds in unpredictable ways. It has an agency of its own that he can try to subjugate, and he has an agency that it can also act to undermine by forcing him to switch between one of two staffs (see left).
In at least one respect since FIELDS, I’ve come full circle; a section of my FIELDS paper explored the implications of confusing cueing systems in some works by the composer Christian Wolf. For my first large-scale ensemble piece since participating, the composition of which is ongoing, I have developed a similarly confusion-inducing cueing system of my own. For now, the kinds of correspondence it might illicit among the players remains to be seen, but one thing is certain: I have no idea what I would be doing if it weren’t for FIELDS.
Engineering student Nick Horne has recently published an article about his research in our student research journal Fields. We caught up with him for a chat about his work and his experiences getting published.
How would you explain your research to someone new to the subject?
I would explain my research as a methodical approach to an engineering problem, starting with the objectives of the proposed solution in order to gain an understanding of what is required. It was important to understand the problems effecting power system quality, which the project aimed to address, as well as their causes and countermeasures, in order to understand the purpose of the system and produce a good technical report. My research covered the existing technology available, found the best suited to the application and evaluated the results against the highest benchmark I had access to.
As a first time author, how did you find the process of getting published?
I found the process of being published interesting and relatively straightforward. The editors of the journal were very helpful and constructive with their comments and suggestions which my work benefitted from. Ample time and support was given which made the process of writing my article enjoyable and ensured it was of the highest quality I could achieve. The whole experience has been rewarding and I’m proud that my work was selected for publishing in Fields.
How do you think this experience has helped you develop new skills?
The experience taught me how to better structure my sentences and make the journal flow better for the reader, better grammar and punctuation made the article easier to read. My journal was based on my final year project report which was a considerably larger body of work; this experience therefore provided experience in extracting key information and creating a more concise article. It also meant I was able to identify what information from my report would be suited to an academic style paper, adapting certain sections to explain terminology and provide context. Writing for a wider audience, with the aim to interest and educate the reader, was a challenge I enjoyed throughout the process.
History student Katie McAdam has recently published an article about her research in our student research journal Fields. We caught up with her for a chat about her work and her experiences getting published.
Give us a quick overview of your research area
My area of research has focused on societal gender norms surrounding masculinity and kingship in medieval England. By examining the downfall, death and conspiratorial narratives surrounding Edward II, my article analyses the way in which his failure to meet contemporary gender expectations ultimately doomed his reign, and were to shape the memory of his life and reign. The two areas of masculinity and kingship have been consistently linked throughout the historiography, with Edward often being remembered as a homosexual monarch, even as a gay icon, and his leadership failures are continuously linked with his perceived failings as the ideal medieval male. After Edward II’s death, a letter was written by a notable cleric, Manuel Fieschi, claiming the king was still alive and living out his days secretly as a devout hermit in Italy. My article then goes on to analyse the prevalent trope of secret survival which is associated with many famous deaths throughout history, such as Elvis Presley and Princess Diana and examines why this phenomenon of believing the dead are living on in secret occurs so frequently in history.
How did you find the process of publication? Did it help you to develop as a researcher?
The experience of becoming a first time author has been both exciting and eye-opening for me and has most certainly developed me academically in a number of different ways. I feel my ongoing studies have vastly improved due to the new level of scrutiny I can impose on my own writing and content after working with the Fields team so closely to re-draft and improve my work throughout the past year. Attention to detail was never a strength of mine, but this experience demanded a high level of this skill and so I can now apply this both academically and professionally to my other projects. Overall I also have a much greater appreciation for the level of work that goes into having work published, and as a result feel I hold myself to a much higher standard than before I got involved with the process, which is certainly paying off in other areas such as my grades and feedback.
I have really enjoyed the experience and the process, especially the dedicated workshop day where I could discuss research areas with other writers and learn from each other, and my involvement has definitely made me keen to strive to do similar things in the future.
James Fox is one of our authors from Volume 2 of Fields, and we caught up with him to chat about how his research is progressing and the importance of open access publishing in his field.
Tell us a bit about your area of specialism?
As a researcher at the University of Huddersfield I specialise in music composition and video art. I have been learning about how we perceive and experience sound and music through research that includes the composition of pieces which attempt to generate the sensations of sound through senses other than hearing. While science helps us to discover answers relating to the way things work, art can help us to understand how we feel about these things. Discovering more about the sensations which emerge as we perceive sound and music may expand our understanding of how we experience the world and reveal dynamic forms of expression and stimulating perceptual experiences.
How has publishing in Fields helped you to develop?
Following a publication in the University of Huddersfield’s Fields Journal with the paper ‘It’s a-me, Mario!’ Exploring dynamic changes and similarities in the composition of early Nintendo video game music, I was given the chance to present my research at the British Conference of Undergraduate Research (BCUR) at Manchester Metropolitan University in March, 2016. Preparing and rehearsing for the verbal presentation (which I approached in a similar way to how I prepare for a live musical performance), combined with the experience of meeting the targets and deadlines for the publication itself while in the early stages of my research degree, boosted my confidence enormously. I can honestly say that these experiences, although rather challenging, provided me with the courage to fully pursue my current research and to seek out public exhibition of my work. The support provided throughout the publication and conference experiences further reinforced a positive student experience at the University. Being part of such a vibrant school and student community while studying as an undergraduate and now as a postgraduate researcher have been truly remarkable experiences, leaving a positive and lasting sense of empowerment.
Your work is available open access, is this important in your field?
The open access publishing movement is a large, vital and dynamic element of music and arts research. Open access not only allows fellow researchers, potential collaborators or interested and curious individuals from anywhere in the world to gain free access to essential information and insight but it also provides the researcher with a breadth of demonstrable tools, experiences and skills when seeking further employment, applying for funding or when building a portfolio of work. Allowing free access to research may actually be essential as the arts typically suffer from funding cuts, with some secondary schools recently appearing in the mainstream news for removing music and arts education from their curriculum altogether. Open access publishing not only provides students and researchers with viable methods to disseminate their work but it also expands the opportunity for anyone, anywhere, to gain access to essential inspirational and educational material.
Social Sciences student Gemma Humphris has recently published an article about her research in our student research journal Fields. We caught up with her for a chat about her work and her experiences getting published.
When I first discovered the term ‘social enterprise’ I had no idea what it was. I researched the term and discovered that a social enterprise is what it says on the tin, a business with a social purpose. Any profit made by the company would be reinvested into its social purposes. As a student wanting to start their own business I was fascinated by this idea and loved the fact that a business can be about more than just profiting the owners. So, when it came to writing my dissertation this seemed like a natural topic to research. Some of my friends didn’t understand the benefits of social enterprise, therefore I wanted to learn more about the people who set-up and run social enterprises and what makes them different to typical entrepreneurs. What I learnt was extremely interesting, making the process of writing the dissertation easier!
When I was asked if I was interested in publishing my dissertation I was surprised and honoured. I had to make plenty of changes to get it to a high enough quality and suitable for publishing. This included cutting down the words from 10,000 to 5,000 which seemed near impossible at the outset! It taught me to refine and perfect my writing, ensuring that I covered my points in as little words as possible.
Although going back to my dissertation multiple times was difficult, I learnt the art of perfection and persistence. Continuing to work on it and making sure that it was at a high standard, which I had not had to do with my other work. This gave me a fresh perspective on the effort that my lecturers and university researchers must put in, to get their work published. This understanding of how research is carried out and developed over time takes a lot longer than I would have ever guessed.