Dr Elizabeth Haddon
Senior Lecturer

Profile

Biography

Elizabeth Haddon SFHEA LRSM studied Music at the University of York, returning to teach piano in 1997 while also enjoying freelance work including instrumental teaching, Western and non-Western performance, workshop leading and music administration. From 2006-2008 Liz was Research Officer at the University of York for the ESRC-funded research project Investigating Musical Performance. Her subsequent research has focused on instrumental and vocal pedagogy, the music master class, hidden learning, empathy and partnership in piano duet playing, and creativity, and her published output includes three books, numerous journal articles and book chapters. Liz devised and leads the MA in Music Education at the University of York, a programme specifically developed for instrumental and vocal teachers.

Departmental roles

• Programme leader, MA in Music Education: Instrumental and Vocal Teaching
• Department Management Team
• Department Teaching Committee
• Performance Supervisors' Committee
• Performance Class Co-ordinator

Research

Overview

• Music Pedagogy
• Performance
• Music Psychology

Publications

Full publications list

Book

• Making Music in Britain: Interviews with those behind the notes. Aldershot: Ashgate Publishing Ltd., (2006).

Co-edited books

• Creative teaching for creative learning in higher music education. Editors: Elizabeth Haddon & Pamela Burnard. Forthcoming, Ashgate, (2016).
• Activating Diverse Musical Creativities: Teaching and learning in Higher Music Education. Editors: Pamela Burnard & Elizabeth Haddon. London: Bloomsbury, (2015).
  Reprinted in paperback (2016)

Book chapters

• Creativity in higher music education: Views of university music lecturers. In: E. Haddon & P. Burnard (Eds) Creative Teaching for Creative Learning in Higher Music Education. Ashgate, 2016, pp 22-34.
• Musical creativities and entrepreneurship in higher music education: Activating new possibilities, Haddon, E. & Burnard, P., in Activating Diverse Musical Creativities: Teaching and learning in higher music education. P. Burnard & E. Haddon (Eds), London: Bloomsbury, 2015, pp. 261-281.
• The imperative of diverse musical creativities in academia and industry: Training the next generation of musical entrepreneurs, Burnard, P. & Haddon, E., in Activating Diverse Musical Creativities: Teaching and learning in higher music education. P. Burnard & E. Haddon (Eds), London: Bloomsbury, 2015, pp. 3-18.
• Hidden learning and instrumental/vocal development in undergraduate university music education. In Advanced Musical Performance: Investigating in Higher Education Learning. SEMPRE Studies in the Psychology of Music. I. Papageorgi & G. F. Welch (Eds) (2014). Aldershot: Ashgate.
• Creativity and the institutional mindset (with Dr John Potter). In Advanced Musical Performance: Investigating in Higher Education Learning. SEMPRE Studies in the Psychology of Music. I. Papageorgi & G. F. Welch (Eds) (2014). Aldershot: Ashgate.
• Continuing Professional Development: University instrumental and vocal teachers. In Developing the Musician (2013). M. Stakelum (Ed). SEMPRE Studies in the Psychology of Music. Aldershot: Ashgate.

Peer-reviewed selected publications

• Piano performance: Group classes for the lifelong learner. (2017). Research Studies in Music Education, 39(1), 57-71.
• Bi-musicality and dialogical musicality: Influences of Javanese gamelan participation on Western instrumental learning (2016). British Journal of Music Education 33(2) 219-235. DOI: http://dx.doi.org/10.1017/S0265051716000127

• Interdisciplinary coaching and peer learning in art song performance. Arts and Humanities as Higher Education digital special issue, August 2016:
  http://www.artsandhumanities.org/journal/interdisciplinary-coaching-and-peer-learning-in-art-song-performance/

• Journal article: ‘Gabrieli à 2(2)’: Challenges and rewards of technology-enhanced performance. (2015). Early Music 43(4), 683-686.
• Haddon, E. & Hutchinson, M. (2015,). Empathy in piano duet rehearsal and performance. Empirical Musicology Review, 10(2), 59-72.
  
• Observational learning in the music masterclass. (2014). British Journal of Music Education, 31: 1, 55-68. Available from: http://journals.cambridge.org/repo_A91BTIWe
• Szczepek Reed, B., Reed, D. & Haddon, E. (2013). NOW or NOT NOW: Coordinating restarts in the pursuit of learnables in vocal masterclasses. Research on Language and Social Interaction, 46 (1).
• Multiple Teachers: Multiple Gains? (2011), British Journal of Music Education 28 (1), 69-85
• Instrumental and Vocal Teaching: How do music students learn to teach? (2009), British Journal of Music Education 26 (1), 57-70
• What does mental imagery mean to university music students and their professors? Proceedings of the International Symposium on Performance Science 2007, ed. Williamon, A and Coimbra, D. pp. 301-306. Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC), The Netherlands. ISBN: 978-90-9022484-8, 2007.
• Papageorgi, I., Haddon, E. et al. (2010). Institutional Culture and Learning I: Inter-relationships between perceptions of the learning environment and undergraduate musicians' attitudes to learning. Music Education Research, 12 (2), 151-178.
• Papageorgi, I., Haddon, E. et al. (2010). Institutional Culture and Learning II: Inter-relationships between perceptions of the learning environment and undergraduate musicians’ attitudes to performance. Music Education Research, 12 (4), 427-446
• Papageorgi, I., Creech, A. et al. (2010). Investigating Musical Performance: Perceptions and prediction of expertise in advanced musical learners. Psychology of Music, 38 (1), 31-66.
• Creech, A., Papageorgi, I. et al. (2008a). From music student to professional: The process of transition. British Journal of Music Education, 25 (3), 315-331.
• Creech, A., Papageorgi, I. et al. (2008b). Investigating musical performance: Commonality and diversity amongst classical and non-classical musicians. Music Education Research, 10 (2), 215-234.
• Welch, G. F., Papageorgi, I. et al. (2008). Musical genre and gender as factors in Higher Education learning in music. Research Papers in Education, 23(2), 203-217

Selected Papers

• Vierhändig, immer einmal! Piano Four hands Music Symposium. Keynote speaker and concert performance with Dr Mark Hutchinson. University of Music and Performing Arts Graz Austria, January 25-26, 2019.
• ‘Playful production: Collaborative devising in a music ensemble context’. Co-presented with Dr Catherine Laws, Together in Music, National Centre for Early Music, York, 12-14 April 2018.
• ‘Press pause, then play’. Invited speaker, NAHME conference (National Association of Higher Music Education): May 2017, Faculty of University of Cambridge.
• ‘Learning to accompany’. Piano Accompaniment in Practice. University of Hull, 12 November 2016.
• ‘Moving beyond authority: transformative models of teaching and learning from creative pedagogies’. Invited speaker, Abuse in music education: institutional approaches, closed conference day. London: Trinity College of Music, 6 May 2016
• ‘From “stand and sing” to enhanced delivery: The impact of musical theatre coaching on art song performance’. The Reflective Conservatoire, Guildhall School of Music and Drama, London, 26 February 2015.
• Piano performance: Group classes for the lifelong learner’. London International Piano Symposium, Royal College of Music, 14 February 2015.
• ‘Empathy in piano duet rehearsal’. Co-authored and co-presented with Dr Mark Hutchinson. SEMPRE Music and Empathy Conference, Music Department, University of Hull, 9 November 2013.
• ‘Intercultural learning: influences of Javanese gamelan ensemble participation on Western instrumental learning’. The Music Education Gathering 2013, Third Annual Conference of the Society for Music Education in Ireland, Dublin, 1-3 November 2013.
• ‘Partners in time: developing a piano duet partnership’. Co-authored and co-presented with Dr Mark Hutchinson. With Four Hands. School of Advanced Study, University of London, 17-19 June 2013.
• ‘The development of the individual voice within the institutional community’. Rhythm Changes II: Rethinking Jazz Cultures. Media City UK/University of Salford, 11-14 April 2013.
• ‘Masterclass learning: an interdisciplinary perspective’. Co-authored and co-presented with Dr Beatrice Szczepek Reed and Dr Darren Reed. The Reflective Conservatoire, Third International Conference: Performing at the Heart of Knowledge. Guildhall School of Music and Drama, London, March 2012.
• ‘Research Findings: from implications to implementation?’ Stepping out of the shadows: practitioners becoming researchers, Guildhall School of Music, April 2011.
• Single or Triple Threat? University Music Students and Musical Theatre Learning. Song, Stage and Screen V Conference, University of Winchester, September 2010.
• Music Workshops Scheme. Learning and Teaching Conference, University of York, June 2010.
• Making Sense of the Self: Music Students and Self-identity. Musical Identity and Social Interaction Conference, Royal Northern College of Music, February 2010.
• University Students and Masterclass Learning. Royal Musical Association Students' Conference: Convergence and Confluence: exploring shared ground in musical research. University of York, January 2010.
  
• Multiple teachers: multiple gains? The Reflective Conservatoire, Second International Conference: Building Connections Guildhall School of Music and Drama, London, February-March 2009.
• Mahler’s Kindertotenlieder: a pianist’s perspective on listening and learning. Paper and performance with Dr John Potter at the International Seminar on the act of Listening in the Musicians’ Creative Process, Orpheus Institute, Ghent, Belgium. May 2008.
• Pedagogy in practice: how do music students learn to become instrumental and vocal teachers? Symposium paper, International Society for Music Education (ISME) 2008 Conference Bologna, Italy. 2008.
• Culture and Context: the influence of institutional culture on undergraduate musicians’ attitudes to learning and performance. (Co-author: Ioulia Papageorgi) SEMPRE: Empirical Musicology, London, 2008.
• What does mental imagery mean to university music students and their professors? International Symposium of Performance Science, Porto, 2007.

Book reviews

• Karen Burland and Stephanie Pitts (Eds). Coughing and clapping: Investigating audience experience. Farnham, UK: Ashgate, 2014. Musicae Scientiae (2015), 19(2), 228-230. 
• 'Studio-based instrumental learning by Kim Burwell. Farnham: Ashgate, 2012. 242 pp., hardback. ISBN 9781409447658'. British Journal of Music Education (2014), 33 (2).

Teaching

Undergraduate

• Performance
• Pedagogy
• Instrumental lessons (piano)
• Solo project supervision

Postgraduate

• Course leader, MA in Music Education: Instrumental and Vocal Teaching

External activities

Memberships

2017-20 External Examiner, Trinity Laban Conservatoire: Certificate: The Practice of Music Making

British Federation of Women Graduates – Music Applications assessor

The Piano Teachers' Course UK - external adviser