Dr Elizabeth Haddon
Reader and Chair of EDI & Staff Development

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 created the MA Music Education: Instrumental and Vocal Teaching at the University of York in 2015, and was Programme Leader for over six years.

Research

Overview

• Music Pedagogy
• Performance
• Wellbeing

Publications

Full publications list

Book

• Instrumental Music Education. Bloomsbury (forthcoming, 2024).
• 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

• Haddon, E. (2023). Negotiating learning and teaching cultures: Adaptive challenges facing MA Music Education graduates on their return to China. In R. Prokop & R. Reitsamer (Eds.) Higher music education and employability in a neoliberal world. Bloomsbury. (forthcoming)
• Training the teachers, and Community Engagement and Meaning – two collaborative chapters in S. Cathcart, & C. Fisher (Eds.) (2025) The Oxford Handbook of Piano Pedagogy, OUP. (forthcoming)
• Collaborating author of multiple chapters in Haddon, E. (Ed.) (2024) Instrumental Music Education, Bloomsbury (forthcoming)
• Hutchinson, M. & Haddon, E. (2022). Partnership in piano duet playing. In M. Dogantan-Dack (Ed.) The chamber musician in the twenty-first century. Basel, Switzerland: MDPI Books (Multidisciplinary Digital Publishing Institute).
• Laws, C. & Haddon, E. (2021). Playful production: Collaborative facilitation in a music ensemble context. In R. Timmers, F. Bailes & H. Daffern (Eds). Together in music: Participation, coordination, and creativity in ensembles. Oxford: Oxford University Press.
• Icebreaker meets Hoketus. In Dodd, R. (Ed.) Writing to Louis Andriessen: Commentaries, life in music. Amsterdam: Joost Grootens, (2019), pp. 198-209.
• 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

• Zhao, M. & Haddon, E. (2023, forthcoming). Creativity in three one-to-one videoed piano lessons in Chinese higher education institutions. In: Proceedings of the International Conference of Music Education Technology 2023 (ICMdT 2023), Asia-Pacific Journal for Arts Education (APJAE).
• Zheng, X. & Haddon, E. (2023, forthcoming). Pedagogical transformation and choice-making: A longitudinal study of Chinese pre-service guzheng teachers in the UK. In: Proceedings of the International Conference of Music Education Technology 2023 (ICMdT 2023), Asia-Pacific Journal for Arts Education (APJAE).
• Journal article: University music students: Mental health and the academic supervisor (2019). Musicology Research Journal, 6(1), 159 199. https://www.musicologyresearch.co.uk/publications/elizabethhaddon-universitymusicstudentsmentalhealthandtheacademicsupervisor
• Journal article: Perspectives of Chinese students on studying MA Music programmes in a UK University. (2019). ORFEU, 4(2), 30-58. http://periodicos.udesc.br/index.php/orfeu/article/view/1059652525530404022019030/10947
• 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 among 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

• 'Wellbeing activities, mental health awareness and artfulness'. Artfulness Croatia, September 2023.
• ‘Wellbeing activities and mental health awareness: Processes, perceptions and potential’. University of York Arts and Humanities Mental Health Research Showcase, 21 June 2023.
• ‘Reflection’. Ohio University, USA: Invited talk for Piano Performance and Pedagogy Studies program, April 2023.
• ‘The violin duet in contemporary instrumental pedagogy’, co-author Dr Martin Suckling. SEMPRE 50^th Anniversary Conference, University of London, 2-3 September 2022, poster presentation.
• 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

• Sound Teaching: A Research-Informed Approach to Inspiring Confidence, Skill, and Enjoyment in Music Performance edited by Henrique Meissner, Renee Timmers, and Stephanie E. Pitts. Abingdon: Routledge, 2022. 146pp., hardback £44.99; eBook £13.59. ISBN 9780367622138, DOI: 10.4324/9781003108382. British Journal of Music Education (2023, in press)
• 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

• Instrumental Music Education
• Solo project supervision
• Creative and Professional Practice Modules 1 and 2
• Recital module

Postgraduate

• PhD supervision
• 'UKCGE Recognised Research Supervisor'
• Coordinator, Music Education Forum
• MA by Research supervision

External activities

Overview

• Kingston University: External examiner: MA Music Education, January 2023-December 2026
• Guildhall School of Music and Drama, London: External assessor: pre-REF exercise, pedagogy outputs, December 2020
• 2017-20 External Examiner, Trinity Laban Conservatoire: Certificate: The Practice of Music Making
• British Federation of Women Graduates – Music Applications assessor 2018-2022
• The Piano Teachers' Course UK - external adviser 2017-19
• Doctoral examining: Royal College of Music, University of Hull, Kingston University, Sydney Conservatorium, Trinity Laban Conservatoire and Kings College London
• Member of SEMPRE; Northern Network for Empirical Music Research (NeMUR)
• Peer reviewer Teachers and Teaching: Theory and Practice, Paedagogia Musica, University of Pilsen, Asia Pacific Education Review.
• Peer reviewer for book proposals (Bloomsbury Academic Publishing, Oxford University Press)
• Peer reviewer British Journal of Music Education, Psychology of Music, Research Studies in Music Education, Music Performance Research; Arts and Humanities in Higher Education, Music Education Research, Musicology Research Journal, South African Music Studies, Musicae Scientiae, Frontiers.

Invited talks and conferences

• Group piano and the lifelong learner’. Invited presentation, Frances Clark Center, New Jersey, USA: Teacher Education webinar series October 2023
• ‘Reflection’. Ohio University, USA: Invited presentation, Piano Performance and Pedagogy Studies program, April 2023