Sociomusicology: Courses in Doctoral Supervision

10/24/23

Courses in Doctoral Supervision

This year, 2023, will be my fourth year of doing some teaching for the annual university-wide faculty professional development course on Doctoral Supervision at University of Bergen UPED 691: Becoming a Supervisor: Community, Expertise, Dialogue. Each time this course has quite interesting discussions, and includes lecturers and young professors from a vast array of academic fields, so I look forward to it.

I am now developing a similar course for faculty at Western Norway University of Applied Sciences through the Global Competence Partnership project. Also, I am now authoring a book chapter that discusses this topic through a critical literature review as well as reflections on my own experiences as a PhD student and mentor. There is so much to say about this topic, and I am hopeful that the chapter will be useful for readers.

Here are links to postings about previous years in which I taught for this course: https://sociomusicology.blogspot.com/2020/10/doctoral-supervision-course.html

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Welcome to Sociomusicology

For over 15 years (since 2007), this website has offered musings on contemporary society and its music by David G. Hebert, PhD. He is a sociomusicologist specializing in global music education who has held academic positions with universities on five continents. Dr. Hebert is now a tenured full Professor with Western Norway University of Applied Sciences, Bergen. There he leads the Grieg Academy Music Education (GAME) research group and manages the multinational government-funded Nordic Network for Music Education, which organizes annual intensive Master courses and exchange of teachers and students across eight countries. He is also an Affiliated Professor with University of the Faroe Islands and an Honorary Professor in China with the Education University of Hong Kong.

Professor Hebert's research applies an international-comparative perspective to issues of pluralism, identity, and cultural relevance in music education, as well as processes by which new music traditions emerge and change - both sonically and socially - as they are adopted into institutions. Born in the 1970s, he is among the most widely-published and globally-active music scholars of his generation (h-index:20; i10-index:30), with professional activities in an average of 8 countries per year across the past decade (2008-2020).