title: Encountering the ethics of engaged scholarship

authors: Cheney, George

subjects: applied research

abstract: This commentary offers reflections on the preceding articles and frames ethics of community engagment by (organizational) communication scholars in terms of broader issues about the enterprises of applied research. The brief essay considers how we approach and position ethics (writ large) in our work and then offers the following dialectics for consideration: openness versus protection, privilege versus equality, distance versus empathy, listening versus advising, and representation versus intervention.

text: Encountering the ethics of engaged scholarship This commentary offers reflections on the preceding articles and frames ethics of community engagment by (organizational) communication scholars in terms of broader issues about the enterprises of applied research. The brief essay considers how we approach and position ethics (writ large) in our work and then offers the following dialectics for consideration: openness versus protection, privilege versus equality, distance versus empathy, listening versus advising, and representation versus intervention.

year: 2008

title: Reflective practice and inquiry: Let’s talk more about inquiry

authors: Earl Rinehart, (Suzanne) Kerry

abstract: Reflective practice and inquiry are aspects of teacher professional practice that characterise teachers as learners. Reflective practice in some form is considered in contemporary education as an essential activity for teachers and teacher educators. ‘Inquiry as professional development’ and ‘inquiry as research’, on the other hand, are forms of reflective practice designed and intended to go beyond the personal. We explore the following three research and two inquiry approaches that teachers can use to inform their practice and contribute to our collective knowledge about teaching: the research methods of self-study, autoethnography and action research, and the inquiry approaches ‘teaching as inquiry’, and ‘spiral of inquiry’. Any research or inquiry approach used needs to fit purpose, language use, positioning as a researcher and writer, degree of reflexivity and the degree of public critique of the project. When the chosen approach fits, our research work has a better chance of improving teaching, student progress and achievement, in short: being useful to others.

text: Reflective practice and inquiry: Let’s talk more about inquiry Reflective practice and inquiry are aspects of teacher professional practice that characterise teachers as learners. Reflective practice in some form is considered in contemporary education as an essential activity for teachers and teacher educators. ‘Inquiry as professional development’ and ‘inquiry as research’, on the other hand, are forms of reflective practice designed and intended to go beyond the personal. We explore the following three research and two inquiry approaches that teachers can use to inform their practice and contribute to our collective knowledge about teaching: the research methods of self-study, autoethnography and action research, and the inquiry approaches ‘teaching as inquiry’, and ‘spiral of inquiry’. Any research or inquiry approach used needs to fit purpose, language use, positioning as a researcher and writer, degree of reflexivity and the degree of public critique of the project. When the chosen approach fits, our research work has a better chance of improving teaching, student progress and achievement, in short: being useful to others.

year: 2016

title: A Portfolio of Compositions

authors: Dobson, Elizabeth Jane

subjects: music

abstract: The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

text: A Portfolio of Compositions The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

year: 2010