Hostname: page-component-7bb8b95d7b-w7rtg Total loading time: 0 Render date: 2024-09-15T10:13:04.876Z Has data issue: false hasContentIssue false
  • English
  • Français

Through the eye of a needle: the emergence of a practice-led research doctorate in music

Published online by Cambridge University Press:  14 January 2011

Paul Draper  and
Scott Harrison
Get access Rights & Permissions [Opens in a new window]

Abstract

This paper explores recent developments in relation to doctoral research training in music. Drawing on the findings of a case-study of a recently established practice-led doctorate at an Australian conservatoire, we offer insights into the attributes of its expanding cohort. We interrogate a blended research training structure of academic supervision, coursework, web-based tools and administrative resources in order to reveal the obstacles to, and opportunities for improvement. The paper concludes by arguing programme design refinements which contribute to a deeper understanding of practice-led doctorates in music while inviting readers to similarly consider their own experiences.

Type
Research Article
Information
British Journal of Music Education , Volume 28 , Issue 01: John Paynter: Music Educator 1931–2010 , March 2011 , pp. 87 - 102
Copyright
Copyright © Cambridge University Press 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ADAMSON, G. (2007). Thinking through Craft. New York: Berg.CrossRefGoogle Scholar
AHEC (Australian Higher Education Council) (1989) Australian Graduate Studies and Higher Degrees. Report by the National Board of Employment, Education and Training. Canberra: AGPS.Google Scholar
BARTLEET, B-L. & ELLLIS, C. (Eds) (2009). Music Autoethnographies: Making Autoethnography Sing/Making Music Personal. Brisbane: Australian Academic Press.Google Scholar
BERSIN, J. (2004) The Blended Learning Handbook: Best Practices, Proven Methodologies, and Lessons Learned. San Francisco: Pfeiffer Wiley.Google Scholar
BRESLER, L. (2009) Research education shaped by musical sensibilities. British Journal of Music Education, 26, 7–25.CrossRefGoogle Scholar
CARTER, P. (2005) Material Thinking: The Theory and Practice of Creative Research. Melbourne: Melbourne University Press.Google Scholar
COBUSSEN, M. (2010) The intruder. In Caduff, C., Siegenthaler, F. & Wächli, T. (Eds), Art and Artistic Research: Music, Visual Art, Design, Literature, Dance (Bilingual edition, pp. 46–55). Chicago: Chicago University Press.Google Scholar
COESSENS, K., CRISPIN, D. & DOUGLAS, A. (2009) The Artistic Turn: A Manifesto. Collected writings of the Orpheus Institute. Ghent: Leuven University Press.Google Scholar
CRESWELL, J. W. (2003) Research Design: Qualitative, Quantitative, and Mixed Method Approaches. London: Sage.Google Scholar
DEJANS, P. & VANMAELE, J. (2009) Learning and Teaching in Research Higher Degrees: Local and International Perspectives. Orpheus Institute presentation to Queensland Conservatorium RHD colloquium, 21 October 2009, Brisbane, Australia.Google Scholar
EVANS, M. & GANDOLFO, E. (2009) Collaborating with the enemy. TEXT, 6 [Special Issue Website Series].Google Scholar
GLASER, B. (1993) Basics of Grounded Theory Analysis. Mill Valley: Sociology Press.Google Scholar
GRAY, C. (1998) Inquiry through practice: developing appropriate research strategies. In Strandman, P. (Ed.), No Guru, No Method? Discussions on Art and Design Research (pp. 82–95). Helsinki: University of Art & Design.Google Scholar
GRAY, C. & BURNETT, G. (2009) Making sense: An exploration of ways of knowing generated through practice and reflection in craft. In Proceedings of The Crafticulation & Education Conference, 24−26 September 2008. Helsinki: NordFo.Google Scholar
HANNAN, M. (2008) Unruly rules: Guidelines for Australian practice-based doctorates in music. In Proceedings of The 28th International Society for Music Education (ISME) World Conference, 20–25 July, Bologna, Italy.Google Scholar
HARRISON, S. & EMMERSON, S. (2009) The challenges of supervision of a doctorate in practice-based research in music: perceptions of students and supervisors. TEXT, 6 [Special Issue Website Series].Google Scholar
LINCOLN, Y. S. & GUBA, E. G. (1985) Naturalistic Inquiry. Newbury Park: Sage.CrossRefGoogle Scholar
POLIFONIA (2007) Guide to third cycle studies in higher music education. The 3rd cycle working group, Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC), The Netherlands. Retrieved 12 August 2009, from http://www.bologna-and-music.org/home.asp?id=1766Google Scholar
SCHIPPERS, H. (2007) The marriage of art and academia: challenges and opportunities for music research in practice-based environments. Dutch Journal of Music Theory, 12, 34–40.Google Scholar
SCHÖN, D. A. (1987) Educating the Reflective Practitioner: Toward a New Design for Teaching and Learning in the Professions. San Francisco: Jossey-Bass.Google Scholar
TUNING (2004) Tuning Education Structures in Europe. An Educational Evaluation Framework for the Lisbon Strategy and the Bologna Declaration Process. [Website]. http://tuning.unideusto.org/tuningeu (accessed 27 October 2009).Google Scholar