A Flute Maker/Player Dyad — Part 1

Martin Doyle, Desi Wilkinson and Elizabeth Petcu

The following essay — A Phenomenological Study into the Experiences of a Flute Maker/Player Dyad — was completed by Elizabeth Petcu in May of 2002 as a final semester essay that she undertook to gain her Masters Degree in Music Therapy from the University of Limerick. The flute maker/player dyad that Elizabeth chose to observe as the subject for this phenomenological study was made up of Martin Doyle (flute maker) and Desi Wilkinson (flute player).

Elizabeth Petcu is herself a distinguished flute player who held the position of Principal Flute with the Radio Telefís Éireann Concert Orchestra for over 25 years. She has recently released a solo flute music album, Just Me, and is a member of the three piece music ensemble Rune.

Images: Martin Doyle (background — flute maker), Desi Wilkinson (flute player) and Elizabeth Petcu (essayist).

This essay has been published in six parts on Martin Doyle Flutes with Elizabeth Petcu's permission.
It may not be copied or reproduced in any form without her express written permission.

A PHENOMENOLOGICAL STUDY INTO THE EXPERIENCES
OF A FLUTE MAKER/PLAYER DYAD

by Elizabeth Petcu, May 2002

— a flute to suit —

Abstract

This study is an attempt to shed some light on the experiences of a flute maker/player dyad. The flute maker and the player were interviewed separately before the instrument was completed. A phenomenological approach was used to distil the essences from the interview transcriptions. The opportunity for feedback from the participants was included in the design. Themes which emerged from both interviews are presented and discussed, and summarised in the final section.

Introduction — the background to the project

Discovering a flute maker’s workshop in my local town a few years ago enabled me to combine my lifelong fascination for woodwork and wood turning with my love of flutes and flute playing. Under the allure of the atmosphere in the workshop and listening to the philosophising of the maker, caused me to be curious about the “ingredients” contained in the instruments. I wondered if the experiences of the maker, as he worked, could be converted into a more tangible form. The phenomenological approach, also recently discovered, suggested itself as being a possible way to reveal the powerful, unspoken psychological processes and energies which I could palpably feel in the workshop.
If I could sense these energies, I wondered whether the player might also be aware of them in some way. As Bruscia points out, the purpose of qualitative research is to bring the unconscious to consciousness Bruscia (1996). This was one of the reasons why I felt that a phenomenological approach would suit the information I felt might emerge.

Benezon believes that an instrument maker who is aware of his own sound identity may make instruments well adapted to his intended player’s creativity Benezon (1997). This statement could be an attempt to include the less tangible ingredients which might be contained in the instrument. He goes on to acknowledge that three individuals are needed for music making: the instrument maker, the player and the listener.
I decided to pursue these ideas through observing the coming to life of one of the most special flutes in the workshop at the time. This instrument was to be a silver-keyed, simple system, cocus wood flute. Exploiting the idea that qualitative inquiry uses purposive sampling enabled me to choose participants I felt most likely to serve as the best informants for this particular study Amir (1996a). The designated player offered me much thought-provoking material in his interview.
Kenny (1996) identifies the aims of research to be: to learn, to understand, to improve, to change and to grow. These aims could also be considered to form a large part of the preoccupations of instrument makers and players. By choosing the word “dyad,” which I heard for the first time in a music therapy context, I thought that I might perhaps discover links between the therapeutic process and the process of instrument making and playing.
I might just as well have chosen the word “triad,” since I involved myself so totally in the process. Husserl referred to this as “trading places.” The philosopher of science, Polanyi, put this another way:

All knowing is personal knowing — participation through indwelling. Polanyi & Prosch (1975)

Learning through self-discovery is emphasised by Forinash & Gonzales (1989). They declare that attempts to make knowledge impersonal in our culture have split science from humanity.
In empathy, while maintaining one’s own position as researcher, one gradually allows oneself to feel one’s way into the other’s experience Churchill, et al, (1998). Parallels can be found in existential therapy, which can be seen as a collaborative adventure in which both client and therapist will be transformed if they allow themselves to be touched by life Corey (2001). Also shared by phenomenological research and existential therapy is the use of the self.
Bruscia (1996) advises that researchers may need to be aware of any counter transference issues which might influence their work. To prevent any unhelpful counter transference issues arising, I have honestly declared my stance in an attempt to create an awareness of this possibility both for my own sake and for the sake of the reader.

Next: A Flute Maker/Player Dyad — Part 2