AÑO 18 Nº 31. ENERO - DICIEMBRE 2023
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Revista Arbitrada de la Facultad Experimental de Arte
de la Universidad del Zulia
Maracaibo, Venezuela
Revista Arbitrada de la Facultad Experimental de Arte
de la Universidad del Zulia. Maracaibo, Venezuela
AÑO 18 N° 31. ENERO - DICIEMBRE 2023 ~ pp. 91-97
Janine Paula Magnin
University of Limerick
Limerick, Ireland
janine.magnin@ul.ie
Recibido: 10-04-22
Aceptado: 01-06-22
Aligning Vocal Pedagogical Bodies of Knowledge
in Singing-Lesson Experiences
Alineando cuerpos pedagógicos vocales de
conocimiento en clases de canto
Vocal pedagogy is an emerging academic discipline that
is rapidly gaining traction as a rigorous and relevant body
of knowledge. However, its knowledge often lacks the
rigorous legitimacy required for academic credibility. The
Western craft of teaching singing and vocal skills has a long
history and is deeply rooted in practical experience. This
paper explores academic writers' concerns for legitimizing
practical arts practice in academia and higher education
institutions. The paper uses phenomenological research
on female adolescent singers' experiences to illustrate how
this practical-theoretical alignment can be negotiated.
This alignment between rigorous credibility and voice
teaching can be seen as a dilemma or consideration.
Keywords: Vocal Pedagogy, Practitioner Research,
Academic Rigour, Vocal Studies, Music
Didactics.
La pedagogía vocal es una disciplina académica emergente
que está ganando terreno rápidamente como cuerpo
de conocimiento riguroso y relevante. Sin embargo, sus
conocimientos carecen a menudo de la rigurosa legitimidad
que exige la credibilidad académica. El ocio occidental
de enseñar a cantar y las habilidades vocales tiene una
larga historia y está profundamente arraigado en la
experiencia práctica. Este artículo explora la preocupación
de los escritores académicos por legitimar la práctica
artística en el mundo académico y en las instituciones de
enseñanza superior. El artículo utiliza una investigación
fenomenológica sobre las experiencias de cantantes
adolescentes para ilustrar cómo se puede negociar este
alineamiento práctico-teórico. Esta alineación entre la
credibilidad rigurosa y la enseñanza de la voz puede verse
como un dilema o una consideración.
Palabras clave: Pedagogía vocal, investigación práctica,
rigor académico, estudios vocales,
didáctica de la música.
Abstract Resumen
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Introduction
Although academic research in Western Vocal
Pedagogy (VP) could be considered an emergent academic
eld within Higher Education (HE) institutions, the Western
craft of teaching voice students dates back centuries
(Nelson, 2013; Oram, 2015; Winter, 2021 & 2023). This tacit
and culturally embedded vocational craft has been taught,
learned, used, and passed on from teachers to numerous
generations of students. However, there is concern within
the VP research eld that HE institutions may put more
importance on more scientic, theoretical, and positivist
research. The Western vocal craft is learned practically but
institutions need to rely on funding that is often awarded
for research that meets the criteria of traditional academic
and peer-reviewed research (Oram, 2015). This could
result in less credence being given to material knowledge
(how-to teaching books, blogs, websites) that record the
experiences, accumulated learning, and generational
practice that singing teachers bring to the eld of Western
VP and its research.
The tension between the two strands of VP
understanding (practical and theoretical) has implications
for VP research because of VPs’ emergent nature. This
paper considers the possible tensions within this practical
and theoretical knowledge alignment and whether this
is a consideration within my current research into female
adolescent vocal agency within singing lessons.
VP as an artifact of history and culture
Western VP is a centuries-old product of its culture.
In his book detailing the history of English Choristers, Mould
(2007, p. 1) writes, “During the rst millennium BC the Jews
had maintained a song school in which not only men but
also Levite boys were trained to sing”. He writes that, from
531 AD, the Christian church educated boys to read Latin,
the Psalter, and the Liturgy which was chanted in a song-
like manner. Until the mid-12th century, young children
were gifted to the church as oblates, and in the 12th and
13th centuries, the choristers were an important part of the
secular English cathedrals: “the sound of young choristers
was deemed to resemble the pure sound of angels” (Mould,
2017, p. 24). Potter & Sorrell (2012, p. 38) write: “The church
was a powerful means of disseminating developments in
singing, and the learning of the chant corpus required an
institutional pedagogy which developed its own criteria for
good singing”.
“The need for singing training arose in response
to the desire for greater excellence in the performing art”
(O’Bryan & Harrison, 2014, p. 1). The virtuosic singer started
to come into prominence in the sixteenth century and
music learning conservatories were developed to train
singers in this specialized and reied performing style
(O’Bryan & Harrison, 2014; Potter & Sorrell, 2012; Stark,
1999). This specialized way of singing (known as Bel Canto),
developed from the growing understanding that “the
human voice could be used in extraordinary ways and set
virtuoso singers apart from amateur and choral singers, and
resulted in a new kind of expression” (Stark, 1999, p. xvii).
The eighteenth century saw the printing and
distribution of Bel Canto method books. The rst author of
these method books was Pier Francesco Tosi (1653-1732)
who took this ‘secret’ craft, codied it, and made it accessible
to everyone (Potter & Sorrell, 2012). As opera houses began
to develop, the Bel Canto sound required by the composers
and audiences needed to change. The larger performing
spaces required a bigger type of voice. It also marked the
decline of the castrati singers and the enablement of more
female singers’ careers (O’Bryan & Harrison, 2014).
The conservatory master-apprentice model
of learning the Western style of singing is still often the
standard structureof voice lessons today. It can be found in
private singing studios and is not isolated to conservatories
alone (Lentini, 2020; O’Bryan & Harrison, 2014). Potter
& Sorrell (2012) write that despite compositional styles
changing over time, many aspects of singing teaching have
remained constant until today. This demonstrates the very
culturally embedded nature of Western singing teaching
and the practical applications of VP. Even if there is no need
for the historical implications to be explicitly shown within
VP research, it always lies implicitly and symbolically below
the surface. One cannot separate the historical signicance
of Western VP from the practice, or its research. The reason
for research often comes from and is informed by the
practice which is historically and culturally embedded.
When examining the lesson space, we should
consider both its observable and symbolic aspects. We
should also consider the two players positioned within that
space: the teacher and the student. Not only is that space
a concrete place with physical props that exists within
time and space, but it is also a cognitive and meta-space
that is imbued and embedded with centuries-old historic
culture, expectation, values, beliefs, and enculturation
that has been “informed by 400 years of singing pedagogy
traditions” (O’Bryan, 2014, p. 21).
Examining the singing lesson space
Swanwick (1999, p. 23) writes that we do not just
react to an environment: “Whether physical or cultural…
we also reect upon our experience”. The space is the area
that holds shared symbolic meaning and enables new
meanings via access to these symbolic systems. “Space, in
and of itself, does not evoke a reaction until it becomes
the background to something perceived as consequential”
(Gains, 2006, p. 174). Knowledge and new meanings
develop when language and objects are integrated into
cognition via the medium of the lesson space. Thus, the
lesson space operates on both the concrete-observable as
well as the abstract-symbolic levels simultaneously. One
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Aligning Vocal Pedagogical Bodies of Knowledge in Singing-Lesson Experiences
Janine Paula Magnin
cannot exist without the other. We are both passively in a
space and actively engaged with its cognitive symbolism.
The lesson space is both physically occupied and acts as a
meta-conduit for knowledge.
The players do not come into that space from a
void, nor is the student’s emptiness lled by the teacher’s
pedagogy. Instead, both the teacher and student are
already lled and inuenced by constructed musical, social,
cultural, gendered, and personal meanings, and values.
One could say that the student’s knowledge is overlayed
by additional knowledge within the lessons. The student is
shown an object concept. That student conceptualizes an
awareness of the object concept and that object concept’s
structure is changed as it is incorporated into the cognitive
and embodied constructions within the student (Vygotsky,
1934; Hargreaves et al., 2002). In this way, we are constantly
constructed and reconstructed as we come across new
people and new concepts. This applies to a Western
pedagogical tradition that is hundreds of years old and
still inuences how singing is taught within many Western
studios.
Aubert’s (2007, p. 22) denition of traditional
music relates to Bel Canto as it too is a “living form, endowed
of an inexhaustible creative potential, and the bearer of a
set of values which confer on it identity, originality, and
symbolic scope”. He further denes musical knowledge
as not genetic. Rather, “it results entirely from the domain
of cultural acquisition”. Musical learning occurs through a
“progressive impregnation as naturally as spoken language”
(Aubert, 2007, pp. 69-70). This reication of stylistic
vocal quality “requires a highly rened use of laryngeal,
respiratory, and articulatory muscles to produce special
qualities of timbre, evenness of scale and register, breath
control, exibility, tremulousness, and expressiveness”
(Stark, 1999, pp. xx-xxi). Although Western cultural singing
lessons are not restricted to the conservatories and are
just as common within private music studios, the master-
apprentice model is still considered the “primary mode of
learning [Western] singing” (O’Bryan & Harrison, 2014, p. 2).
One should also consider that Bel Canto is not the
only style in which Western singing students are taught.
Students can have lessons in a variety of styles and genres
and there are now many new and readily available modes of
learning that include, but are not limited to, online videos.
However, O’Bryan & Harrison (2014) suggest that the
master-apprentice model is still the main model in which
singing students are instructed within Western culture.
On the concrete and observable level, “A great
singing lesson has FORM” (Fisher, 2015). The explicit
form of the lesson takes place within time and space
and simultaneously operates on a symbolic level that is
historically and culturally implicit. However one can better
understand the implicit aspects of the lesson via the
acknowledgment of the explicit aspects of the lesson. Both
explicit and implicit aspects are inseparably entwined. In
his online blog, Fisher (2015, para. 7) advises that a lesson
should have the following format: “Vocal warm up – Skill
building – Application in song”. This format is essential
for an eective singing lesson. His blog is a concise and
instructional example of how a lesson could be facilitated.
It is a pedagogical artifact based on Fisher’s (2015) years of
experience as a vocal coach. It is also a personalized lesson
plan based upon a historic vocal pedagogical model and
can be adjusted according to each student’s vocal needs.
Within the singing lesson are positioned two
people: the teacher and the student. Within this space,
these two players interact: “The one-to-one singing lesson
might be dened at its simplest as the transmission of
music skills from an expert singer to a novice learner so that
the learner eventually develops those same skills” (O’Bryan,
2014, p. 21). A study by Duy & Healey (2017) compared
how teachers and students interacted within in-person
and online one-to-one music lessons. They found that the
perception of space and the use of non-verbal cues were
signicantly dierent in both lesson settings. In both in-
person and online remote instrumental lessons, the student
was instructed in a one-to-one setting and by a specialist
instrumental teacher. In-person lessons were conducted in
one room in which both players interacted with each other
and the music. The music stand, its position in the room,
and its relation to the student and teacher played a vital
part in the visual and pedagogical makeup of the lesson.
Duy & Healey (2017, p. 13) noted that there was
evidence of a “collaborative system of turn-taking” where
only one person would speak at a time.In contrast, online
lessons were conducted remotely, and both the student
and the teacher were situated within their own private
spaces while interacting together within a virtual space.
A primary dierentiation between the two lesson spaces
was that there was a latency in relaying speech during the
remote lessons which resulted in less ecient turn-taking
and more interruptions by the student due to an “inability
to predict when the tutor’s instructional turn was complete”
(Duy & Healey, 2017, p. 17).
Regardless of being in-person or remote, the
space is observable within time and space. There is a mutual
understanding between the student and the teacher of
how the lesson should function, as demonstrated by the
student and teacher’s use (or observed frustrationally lack)
of turn-taking. The space operates as a symbolic and active
zone that enables the student to build the skills required to
produce the expected and desired cultural sounds. The two
observable lesson spaces (physical and virtual) required
adjustments by both players to enable the facilitation of the
lesson, but the lessons still operated on both an observable
level as well as a symbolic level which enabled the behavior
adjustments required to facilitate optimal teaching and
learning.
An observable lesson is intertwined with
the unobservable and meta-cognitive-habitus-imbued
symbolic space in which a student enters as an already
constructed and musically inuenced individual with
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certain expectations. The purpose of the lesson is to
instruct the student in a particular style of singing for
whatever outcome is needed or wanted by the teacher
and/or student. The teacher comes into that space with
the expectation of instructing and vocally constructing
the student and each teacher approaches singing teaching
according to their own pedagogical beliefs, experience, and
habitus. However, regardless of how they teach and what
their pedagogical opinions are, they are still rooted and
based upon an entrenched cultural and historic Western
craft. Chandler (2014) wrote that there are fundamental
dierences between teaching classical and contemporary
styles.
In contrast, Goldsack (2014, p. 51) wrote: “My
long-term aim for all young voices is to establish a strong
technique that is healthy, beautiful, gives versatility and
access to all styles of music”. Chandler (2014, p. 35) advocates
for a more specialist treatment of contemporary pedagogical
knowledge and instruction: “While contemporary singing
shares commonalities with other singing styles, the
specics are distinctive and non-generic”. Both Goldsack’s
(2014) and Chandler’s (2014) written opinions are based on
their pedagogical knowledge and are part of the skills and
values that they wish to impart to their singing students.
Their opinions are also grounded on a historical and
cultural vocal learning reference point that is commutable
and understood within Western VP. This cultural-historic
reference point enables vocal pedagogues to have dierent
opinions because of the deep entrenchment of Western VP
in Western history and culture. It also enables their chosen
(dis)adherence to traditional Western pedagogy within the
lesson space and how/what they teach within it.
This is further illustrated in a study by Dwyer
(2015) who analyzed a general class music teacher’s values
and belief systems. Drawing on Pierre Bourdieu’s theories on
habitus, Dwyer (2015) suggests that this belief system was
put in place by the teacher’s own past music-specializing
experiences and external social and institutional forces.
Additionally, these dominant systems were supported by
the institution in which the teacher worked. These systems
inuenced how and what the teacher imparted to the
students. Although unaware that they were doing it, the
teacher overrode the student’s pre-existing musical tastes
and knowledge and made them discount their personal
values and beliefs to participate successfully in the lessons.
With those pre-existing systems negated, the
teacher then was able to transmit and reproduce the
dominant musical values and belief systems that they had
learned when originally specializing in their musical eld.
Dwyer’s (2015) analysis of the case study looked at how
the teacher’s awareness of these exposed beliefs disrupted
their assumptions and previously taken-for-granted beliefs.
This meta-awareness enabled the teacher to better adapt to
and legitimize the students’ pre-existing tacit knowledge.
Dwyer’s (2015) case study found that they were
able to disrupt the limitations of their teaching style through
the self-analysis of their teaching practice. Chapman (2012)
suggests that singing teachers should continue to learn
and develop their teaching skills and knowledge to enable
more creativity in their lessons. Similarly, Lentini (2020)
wrote that she chooses to teach dierently from how she
was taught and Goldsack (2014, p. 9) writes, “Continual
self-assessment of one’s teaching methods is vital but, as
with singing performance, refreshing one’s ideas, methods
and preconceptions as a teacher is not easy and cannot
be self-generated”. In other words: a singing teacher may
teach restrictively due to their habitus, or they can disrupt
that habitus by being more reective of their practice and
being adaptive to the varying needs of each student. A
study conducted by Morgan (2019) demonstrated research
that stemmed from a personal reective pedagogical
practice. The results of the research enabled her to examine
her personal pedagogy and to become more aware
of “formative experiences and unconscious bias” that
potentially aected the progress of her singing students
(Morgan, 2019, p. 9).
My previous research (Magnin, 2016) into the
motivations for pre-adolescent singing students to begin
and continue singing lessons also came from a desire to
self-improve the paraxial and expand the pedagogical
framework that I used at the time. These two studies
illustrate how VP research can be inspired by experiential
and paraxial questions that arise from personal practice
within the eld. It shows how reliant VP is upon that
personal experience, the textual artifacts that describe
it, and the theories that aid in critically reecting upon it
for the ndings to inform personal and pedagogical VP
practice in general. The research, therefore, comes directly
from the practice.
Aligning both the theoretical and
practical strands of VP
The functionality of voice and clarity of data and
its use within Western VP have a much-needed place within
a eld that is so symbolically and culturally imbued. There
is much terminology that has been used generationally
and passed down from master to apprentice that can
be ambiguous, if not altogether incorrect (Miller, 1996).
O’Bryan & Harrison (2014) wrote that the teacher uses their
own experience to demonstrate a hegemonic oral tradition
and that the scientic approach to VP arose from the
invention of the laryngoscope in 1855.
Scientic methods in VP may enable more
academic credibility, but it is often at the expense of
practical knowledge. Winter (2023, p. 3) describes the
scientic methods as a positivist paradigm used to uncover
“scientic truths and accuracies… positivism values an
objective, impartial approach, where the researcher is
dispassionate and neutral”.
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Janine Paula Magnin
Oram (2015) writes that these positivist
quantitative frameworks are more established and
therefore can create a “struggle to articulate the subject of
the voice” (Oram, 2015, p. 16). He writes that, for performing
arts departments to receive funding and for sta to advance
their careers, they are expected to produce reective
research. He writes that this scientic and theory-based
emphasis on research can be problematic in a eld that
requires students to have practical and learned embodied
skills to work in the performing arts.
Even though there is most certainly an important
place for positivist and scientic research into the singing
voice, Winter (2021) suggests that academic writing does
not provide practical solutions, whereas practitioners seek
to ll gaps in practitioner experiential knowledge. Their
practical experiences within the eld of VP can lead to
insights that would be otherwise missed by non-practice-
informed research. Nelson (2013, p. 3) also writes that
research is “driven by a desire to address a problem, nd
things out, establish new insights”. VP is responsible for
more than the critical reection of the eld. It is also needed
for informing pedagogical practice on a practical and
paraxial level to help inform pedagogues on how to better
instruct their students in a fundamentally practical eld.
Although situated within more established music
education and performing arts debates, VP is considered
an emergent research eld. Winter (2021; 2023) calls the
scientic-praxical alignment a ‘dilemma’. She writes that
research cannot provide all the answers as it is not the only
source of evidence on which practical decisions can be
made. It is through our practical experiences that we learn
how to resolve an otherwise theoretical question. We can
intellectually know how something is done, but it is only in
the doing of the action that we truly learn how to do it in
the rst place and therefore how to do it again.
This ‘dilemma’ and debate may be new to VP
research due to its emergent nature, but it is hardly new
to the academic eld of music education. Elliott (1991)
proposes that music is both a verb and a noun. It is both
an object and something that we actively participate
in subjectively: “Music, at root is what musicians know
how to do. On this view, the art of music is both a form of
knowledge and a source of knowledge” (Elliott, 1991, p. 23).
A performer knows how to do something without needing
to describe how they do it. Their knowledge manifests
practically, they act intentionally and select an action based
upon many possibilities of action.
Similar to Oram (2015) and Nelson (2013), Elliott
(1991) writes that musical learning is both procedural
knowledge (tacit, embodied know-how) and propositional
knowledge (verbalized know-that) which is learned
through practice and experience: “Taken as a verb, music in
the fundamental sense of musicing or music performance
is both a form of knowledge and a source of knowledge”
(Elliott, 1991, p. 33). Singing skills can be seen as something
that is learned through active engagement within a space
and are acquired through the overlaying of verbalized
knowledge onto the already held tacit vocal knowledge
within the student’s body. So too, a voice teacher acquires
the VP skills through training and praxis.
Swanwick (1994) also considered the nature of
musical knowledge and how it relates to music education.
He describes it as multiple strands of knowing entwined
within the performer and listener: “Any analytical slice is
only part of any cake; it is less than the total” (Swanwick,
1994, p. 13). He describes musical knowledge as Knowing
how (materials); Knowing this (expression and form); and
Knowing what’s what (value). He also describes music as a
discourse that can create new ways of knowing and does
not only ‘reect’ a culture but can also ‘refract’ it. In this way,
VP’s practical and theoretical knowledges could be seen
to intertwine and enable a more reective and refractive
discourse that can create new modes of meaning and
better inform VP knowledge and practice.
Considerations for current research
My currently ongoing research is a qualitative
phenomenological study on the opinions and perspectives
of female adolescent singing students (12-16 years) on
their experiences within their one-to-one private studio
singing lessons in which they are taught classical/western-
lyrical, contemporary, and/or musical theatre genres in the
United Kingdom. It aims to investigate the perspectives of
participants engaging (students) or facilitating (teachers)
singing lessons, to determine what (if any) meaning or
value they may or may not ascribe to the experiences
(lessons) inside and outside the lesson space, and to add
to current VP knowledge and practice. My questions for
this research come from my own paraxial experience as a
singing student, a singing teacher, and a VP researcher.
The study is not scientic and positivist, but
rather constructivist, relativist, and highly reliant upon the
embedded knowledge held within the singing students
and the practical pedagogy of their teachers. The practical-
theoretical ‘dilemma’ debate is a consideration in VP research
because of its very emergent nature. Therefore, the debate
may need to be reected upon at this stage of emergence to
ensure that the VP research eld has a credible place within
non-performing arts academic institutions as suggested
by Nelson (2013), Oram (2015), and Winter (2021; 2023).
But is it a ‘consideration’, a ‘dilemma’, or a sliding scale with
both on either side of a continuum? A Practice-as-Research
methodology might nd the alignment more of a ‘dilemma’
(Nelson 2013; Orma 2015; Winter 2021 & 2023). For my
current research into female adolescent singers, it lies more
towards a ‘consideration’. This continuum may not even
need to be considered in VP’s future as it becomes more
established within non-performing arts institutions.
For a VP researcher, phenomenology and its
hermeneutical analysis enable the drawing together of
both theoretical and practical knowledges. Data is gathered
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from participants with subject primacy at its core. Neither
the teacher nor the student enters the lesson space from
a void. They step into that observable-meta-space already
lled with embedded knowledge and expectation. The
very act of learning a genre or song has its expectations of
sound production and each teacher approaches the lesson
space according to their pedagogical background, habitus,
and pedagogical ethos. The student already comes into the
lesson lled with socio-culturally embedded constructions.
Dibbens (2002) wrote that identity is formed
through musical preferences and through beliefs of
gender-appropriate musical behaviors that are reinforced
by society and culture; Green (1997, p. 2) wrote that women
and girls undergo an “active silencing by history, the
regulation, the circumscription, the prohibition of women’s
musical practices”; and Lewis (1993) writes that a history of
subordination teaches and reinforces girls and women to
be silent and pick their words with care. Female adolescent
girls and their teachers are bodies within the lesson space
that are engendered and musically, socially, and culturally
constructed. The space is also the conduit through which
the student is taught a style of singing that is historically
and culturally signicant. All these elements can aect
the participant’s interpretation of the phenomenon, the
singing lesson experience.
The analysis of my study’s data is further reliant
upon the researcher’s own tacit and academic knowledge:
“Knowledge is constructed through dialogue; meaning
emerges through a hermeneutic conversation between the
text and the inquirer” (Winter, 2023, p. 13). This dialogue is
the space in which new knowledge can emerge through
an analysis of multiple layers of embedded historic, social,
gendered, and cultural discourse that is brought into the
lesson and/or experienced within the lesson. It is reected
upon by the student experiencing the singing lesson
and further reected upon by the researcher. Non-peer-
reviewed texts and pedagogical practical experience are,
therefore, valuable sources of knowing: “pedagogical texts
become data and therefore can become part of your data
analysis… So, within the phenomenological analysis, the
practice writings, videos, and blogs can all be presented as
data” (Deborah Winter, email message to author, 24 March
2023).
Conclusion
The very fact that there is tension found between
the practical and theoretical texts shows the emergence of
the VP research eld and the need for these considerations.
It appears that most of the tensions are found when
traditional academic biases come against the use of
practical pedagogical texts as data for analysis. Whereas
the performing arts depend upon those very practical
knowledge sources that may be dismissed by academia.
It can be seen as a ‘dilemma’, a ‘consideration’,
or somewhere between the two poles. It may be worth
considering that this tension can be aligned by the
acknowledgment that any Western VP research originates
from and is embedded with embodies historic, cultural,
social, and gendered shared meaning. Western VP practice
is inseparable from these shared symbolic meanings and,
therefore, all VP research is already entwined with that
embodied knowledge. If you consider that nothing comes
from a void, then all data is text for analysis. Both the
teacher and student are fully constructed, functioning, and
knowledge-lled when they enter the concrete- and meta-
space of the lesson.
These already constructed frameworks inuence
the events within the lesson: we have the form of the
lesson and we have teacher-student’s expectations within
the lesson. The lesson further adds to the constructions
and concept-building within the student who leaves that
space with adjustments to their cognitive knowledge. The
functional design and the symbolic object learning within
the lesson are based upon the learned skills, habitus, and
experience of the teacher-whether they critically reect
upon it or not.
These tensions between the practical and
theoretical bodies of knowledge may exist within Western
VP but acknowledging that the practical is inseparably
embedded and embodied in the theoretical may enable
one to ease the tensions within their research and see it as
less of a ‘dilemma’ and more as a ‘consideration’ and a vital
part of the data’s analysis.
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