I had the privilege of presenting a session with six PhD students from the University of Miami Frost School of Music (Sarah Bowman, Andrew Dahan, Craig Denison,
Susana Lalama, Stanley Haskins, Sandra Sanchez) at the recent conference of the National Association for Music Education in St Louis. I thought I would add this post for those who are interested in doctoral education/curriculum and might be interested in knowing more about what we presented. Here is a sample:
Those who of us who work or will work as music teacher educators in doctoral degree-granting institutions are centrally concerned with preparing the next generation of music teacher educators and scholars. In reflecting on or preparing for the creation of the doctoral curriculum, we might ask some essential questions:
- What is it that we want students to know, understand, and be able to do?
- What is essential to the formation of a scholar and his/her future success in the field?
Many will probably agree that doctoral programs in music education are designed, in part, to enable students to ask important and meaningful questions, synthesize prior research and scholarship in music education and related fields, design and conduct research independently, examine and address perplexing pedagogical questions, and effectively share the results of their work with others.
Accomplishing these goals could be facilitated by the application of “signature pedagogies,” a term coined and described by Lee Shulman (2005) as characteristic forms of teaching and learning that prepare future professionals for developing specific habits within a given discipline. Shulman suggests pedagogy should closely align with the professional roles that a given program is designed to prepare students to fill. Understanding is necessary but not sufficient. A person should also be prepared to act, to perform, and practice.
What does that mean for music education professors? It means acting, performing and practicing as teachers, advisers, and researchers, serving the needs of our students, our universities, as well as our local and broader communities. We do that, in part, by disseminating our work through publications and presentations, yet many aspects of these processes are unclear and challenging to those beginning their career in academia. This, in part, led to the design of a one-credit doctoral seminar on disseminating scholarship in music education.
The topic of disseminating scholarship was one of many ideas I bounced around for doctoral students to choose from for a one-hour special topics seminar. The majority were interested in the topic for most it was because they realized it was so critical to their role as future professors, for others it seemed to be because of the mysteries of getting work published (i.e., peer review), and for a few it was to learn more about ways to be more disciplined writers.
The seminar was designed around the various ways that music education academics might disseminate their work (both traditional and emergent) and framed around written and spoken forms. The course also offered students opportunities to review books on subtopics of their interest, find related readings, lead class discussions, formally present on selected topics, and write proposals for specific venues.
The purpose of our session was to share our experiences in this graduate seminar and consider how it shaped our thinking and helped to develop specific habits of the hand and mind.
If you’d like to learn more about the seminar and the resources we used, go to our seminar PREZI by following this link: http://prezi.com/3krm6wikbiox/making-a-contribution-to-the-field/#