Nguy?n Thanh Th?y

This Element demonstrates how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and practice-led-research. The authors relate recently collected material from fieldwork in Vietnam to the long-term method development within the Vietnamese/Swedish group The Six Tones, of which three authors are the founding members. The discussion centers around the inter-subjective forms of stimulated recall analysis, developed through the creative work of this innovative intercultural music ensemble. The aim of this Element is to create a decolonized methodology—for both music performance and research—and it provides a detailed account of this method development starting in 2006. Furthermore, the authors discuss how this practice was successfully shared with three master performers in the south of Vietnam as part of a collaborative project in 2018–2019.

This Element demonstrates how a combination of stimulated recall and collaborative autoethnographic strategies can be applied to artistic and scholarly work at the intersection of ethnomusicology and practice-led-research. The authors relate recently collected material from fieldwork in Vietnam to the long-term method development within the Vietnamese/Swedish group The Six Tones, of which three authors are the founding members. The discussion centers around the inter-subjective forms of stimulated recall analysis, developed through the creative work of this innovative intercultural music ensemble. The aim of this Element is to create a decolonized methodology—for both music performance and research—and it provides a detailed account of this method development starting in 2006. Furthermore, the authors discuss how this practice was successfully shared with three master performers in the south of Vietnam as part of a collaborative project in 2018–2019.