A Flute Maker/Player Dyad — Part 2

As the condensation which forms on the inside of a flute after playing could be considered the distilled essence of the flute player, so phenomenology may be thought of as the study of essences Merleau-Ponty (1962). Growing out of the philosophical schools of Heidegger, Husserl and Sartre in the early twentieth century, phenomenology is a research method which allows the researcher to distil experience as it is lived. As announced by Husserl in 1900, phenomenology was a radical way of doing philosophy. It was conceived to bring philosophy back from abstract metaphysical speculation and into contact with concrete living experience Moran (2000). Rather than being a search for the truth, phenomenology aims to provide meaning and relevance for experiences, simply because they exist Forinash (1995). A phenomenologist tries to understand a thing on its own terms — resisting interpretation Ansdell (1995).
Sartre believed that knowledge may represent a multiplicity of perspectives and not a unified, single truth (Moran, 2000). He argued that anything perceived is perceived by someone and that perception is directly related to the perceiver. Kenny takes this idea a step further when she allows for multiple perspectives within the one person’s perception.

Although I define, I am, as well, repelled by definitions, attempting to embed ambiguity, leaving room for life. Kenny (1996), p.61

Qualitative research (phenomenology, in this case) allows for ambiguity, it respects the uncertain Amir (1996b). The importance of the perceiver is also acknowledged by Husserl when he spoke about reflection time, the depth of response accessed by the researcher through the time allowed for reflection.

Through reflection, instead of simply grasping the matter straight out — the values, goals and instrumentalities — we grasp the corresponding subjective experiences in which we become “conscious” of them, in which (in the broadest sense) they “appear.” Husserl (1929)

The word phenomenon in the Oxford English Dictionary is described literally as a thing that appears, or is perceived or observed. In a more philosophical sense, the word takes on and extra layer of meaning — that of which the senses of the mind directly take note. This reiterates the importance of the researcher’s mind as a measuring tool in this type of research.

That phenomenological research is subjective can be honestly admitted. From this perspective, one could argue that all types of research, positivist or constructivist alike, have an element of subjectivity, despite the claims made otherwise by some researchers. A value-free science is neither possible nor desirable Aigen (1996a), p.10. Even the most “objective” of scientists will tend to create their own data, not in a fabrication sense, but in the sense of selecting what is important.

Merleau-Ponty reinforces this point when he admits:

All my knowledge of the world, even my scientific knowledge, is gained from my own particular point of view, or from some experience of the world, without which the symbols of science would be meaningless. Merleau-Ponty (1962)

Commenting of subjectivity, Husserl gives the most succinct summary:

Subjectivism can only be overcome by the most all-embracing and consistent subjectivism (the transcendental). Husserl (1929)

So it can be said that by recognising this fact and, in a homeopathic kind of way, treating like with like, the subjectivism may be transcended.

“Can anything be known that is not experienced,” asks Kinane.

Can anything be conceived, or alluded to, that is not known, or of which there is no awareness? Kinane (1995)

How we can understand carries emotional, intuitive and value-laden aspects which are influenced by previous experiences. Without reference to the context in which knowledge is generated, there can be no understanding Edwards, (1999). Forinash advises about the importance of articulating the researcher’s own perspective in order to allow the reader to understand the preconceptions and influences the researcher might bring to the work Forinash (1995). Self-acknowledgement of potential biases and previous experiences (on the researcher’s part) may also clarify the reflections and thought processes the researcher might make on the data. Husserl calls this process “the interplay of experience and thought” Lauer (1965). Frequently returning to the original data and demonstrating how the results are well grounded in this data helps to strengthen the validity and accuracy of the work.
Giorgi’s conclusion is that far from being a contradiction, the project of establishing psychology as an empirical human science is distinctly feasible by grounding the data on phenomena that are given in experience Giorgi (1970).

The Method

The data for this study was generated by two semi-guided interviews, one with the maker and one with the player, each lasting approximately one hour. The interviews were then transcribed into typed form from the tapes. I thoroughly familiarised myself with the material in the interviews by reading and rereading the transcripts. Significant statements and “meaning units” were then extracted and collected in a new draft by using only the words spoken by the participants. The participants were invited to give feedback on the new draft at this point as a verification process. As themes began to emerge, they were identified and presented for discussion, in an attempt to make an exhaustive description of the phenomenon. The essences of meaning were distilled and conclusions are drawn in a final summary.

Reflections on the method

It occurred to me that the essential tools for this study were very human and, therefore, unique in nature. The two interviews and my own reflections on them formed the basis for the distillation of themes. As qualitative researchers, we use ourselves as the research instrument Aigen (1996b).
The small sample, i.e. one maker, one player, enabled me to obtain the rich, detailed material which is needed for qualitative research Amir (1996a).
I was quite struck by the sensation of translating the material of the interviews from the aural medium to the visual, typed medium.

Transformation into another medium can involve the loss of something, but has the advantage of looking at something in a different and new context. Langenberg, Frommer & Langenbach (1996), p. 151

Next: A Flute Maker/Player Dyad — Part 3