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dc.contributor.authorHarrison, Scotten_US
dc.contributor.editorTim Brophy and Jane Cheungen_US
dc.date.accessioned2017-05-03T12:57:12Z
dc.date.available2017-05-03T12:57:12Z
dc.date.issued2012en_US
dc.date.modified2013-06-27T00:12:50Z
dc.identifier.issn02557614en_US
dc.identifier.doi10.1177/0255761412439927en_US
dc.identifier.urihttp://hdl.handle.net/10072/46129
dc.description.abstractThis paper examines my role as supervisor of research higher degree music students. Within this dyad, the pedagogical design has centred on conventional delivery, conceptualized in terms of the time-honoured top-down, supervisor-candidate interaction rather than exploration of a comentoring collaboration. Many doctoral candidates in music perceive this merely as an extension of the one-to-one instrumental or vocal tuition from their pre-tertiary and undergraduate learning experiences. This can serve to perpetuate over-reliance on the supervisor as master to provide the student as apprentice with technical work (researching and writing skills); repertoire (literature); and stylistic input (writing genre). Compared with undergraduate approaches, these aspects of learning may be often cobbled together in a haphazard fashion where an understanding of the overall project is somewhat fragmented. Consequently, the particular nature of pedagogy in research higher degrees in music remains under-developed and in need of reconceptualization or the development of an enlightened eye. This paper will review and explore this pedagogy, drawing on narratives presented from my perspectives as supervisor. My role is explored through an autoethnographic account of my experiences as a teacher of groups and individuals, and this is interwoven with references to the projects of candidates at various stages in their programme. In my self-study, I will consider some of my emerging themes, including confidence, project design and management, academic writing, teaching preparation and multi-exegetical formats.en_US
dc.description.peerreviewedYesen_US
dc.description.publicationstatusYesen_US
dc.format.extent563576 bytes
dc.format.mimetypeapplication/pdf
dc.languageEnglishen_US
dc.language.isoen_US
dc.publisherSageen_US
dc.publisher.placeUnited Kindgomen_US
dc.relation.ispartofstudentpublicationNen_US
dc.relation.ispartofpagefrom99en_US
dc.relation.ispartofpageto110en_US
dc.relation.ispartofissue2en_US
dc.relation.ispartofjournalInternational Journal of Music Educationen_US
dc.relation.ispartofvolume30en_US
dc.rights.retentionYen_US
dc.subject.fieldofresearchMusic Performanceen_US
dc.subject.fieldofresearchcode190407en_US
dc.title‘Letting go’: An auto-ethnography of higher degree supervision in musicen_US
dc.typeJournal articleen_US
dc.type.descriptionC1 - Peer Reviewed (HERDC)en_US
dc.type.codeC - Journal Articlesen_US
gro.facultyArts, Education & Law Group, Queensland Conservatoriumen_US
gro.rights.copyrightCopyright 2012 International Society for Music Education. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version.en_US
gro.date.issued2012
gro.hasfulltextFull Text


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