An Roinn um Oideachas Teanga agus Litearthachta/ Department of Language and Literacy Education

Cuireann muid modúil ar fáil do mhúineadh an Bhéarla, do mhúineadh na Gaeilge agus don Ghaeilge ar an mBaitsiléir san Oideachas (Bunmhúinteoireacht), ar an mBaitsiléir san Oideachas (Idirnáisiúnta), ar an mBaitsiléir san Oideachas agus Síceolaíocht, agus ar an Máistir Gairmiúil san Oideachas (Bunmhúinteoireacht).

Tairgíonn muid réimse leathan de chúrsaí iarchéime ina measc, Máistir/Ph.D. struchtúrtha san Oideachas in Oideachas na Litearthachta, Máistir san Oideachas i gCeannaireacht agus i mBainistíocht an Oideachais, teastas/Dioplóma agus Máistir san Oideachas i gCeannaireacht Dhigiteach san Oideachas, agus Máistir san Oideachas le Speisialachais. Anuas air sin, déanann muid feitheoireacht ar thráchtais iarchéime go dtí leibhéal dochtúireachta.

We provide modules in English language literacy, in the pedagogy of Irish and Irish on the Bachelor of Education (Primary), the Bachelor of Education (International), the Bachelor of Education and Psychology and the Professional Master of Education (Primary Teaching). 

We offer a wide range of postgraduate courses, including an M.Ed./Structured Ph.D. in Literacy Education, an M.Ed. in Educational Leadership and Management, a certificate/Diploma and M.Ed. in Digital Leadership in Education and a Master of Education (M.Ed.) with Specialisms. We also supervise postgraduate dissertations to doctoral level.

Meet the Researcher - Dr Maria Varvarigou

What did you study as an undergraduate and postgraduate?

I studied Music performance and music education at the Ionian University in Corfu, Greece. This was a five-year programme with an integrated master’s degree on the final year. During my studies, I specialised in solo performance in both singing and the oboe. I performed with the university symphony orchestra and community marching bands, numerous choral and vocal ensembles, and gave several solo singing recitals. In my final year, I focused on group singing and its impact on the musical development of children aged 7 to 12. As part of this project, I established a choral lab, where I trained young children in group and choral singing, as well as music theory. This experience inspired me to pursue postgraduate studies in Performance (Classical Singing) at the University of York, UK. My goal was to refine my singing technique to become an effective choral leader who could model good vocal practice. I had a fantastic year in York, studying singing, and performing with auditioned university choirs as well as a professional choir outside the university. Following my masters’ degree, I was awarded a scholarship to undertake a PhD in Singing Performance at York. However, within the first month, I realised that I missed working with children and didn’t want to spend most of my time in a practice room. I then applied for a PhD in Music Education at the Institute of Education (IoE) in London, where I was accepted and started a year later, completing my degree in 2009. 

Studying for a PhD at the IoE was an incredible experience. My research focused on effective choral conducting education and how to train choral leaders, an area I remain deeply passionate about. I am fortunate to now mentor PhD students who share my enthusiasm for this field.

Tell us a bit about your research

I am currently researching inclusive music pedagogies – effective practices that music teachers and facilitators use to promote inclusion whilst providing high quality music learning and participation experiences for all. My motivation for this research stems from my belief that meaningful musical engagement fosters wellbeing. I have a passion for applied research, and over the past two years, I have been working collaboratively with fourth-year undergraduate students to develop Sensory Musicking, a music pedagogy inspired and influenced by Oily Cart’s Sensory Theatre. For several years, I was invited by Oily Cart to evaluate some of their sensory theatre productions designed for and with disabled children and young people. Their approach to inclusive, sensory theatre has profoundly shaped the way that I facilitate music teaching and learning. Building on these experiences, I propose Sensory Musicking as an additional approach for teachers in formal education settings, and facilitators in community, non-formal settings. This pedagogy enables learners to engage in personally meaningful music making and participation experiences. The need for such an approach is particularly timely, given the increasing diversity of backgrounds, abilities, and interests in school classrooms and community ensembles. Moreover, the new Irish primary school curriculum aims to promote wellbeing and develop key skills through playful, active, and collaborative learning. Sensory Musicking aligns well with these goals and offers a practical way to bring this vision to life. Beyond this project, I am also involved in research exploring how choral conducting education can become more inclusive through the adoption of Universal Design for Learning (UDL). Additionally, I am building on my work in intergenerational music making, which I first began in 2009. My current focus is on how storytelling and how sensory approaches can enhance music learning and participation, creating deeper engagement and more meaningful connections across different age groups.

What do you enjoy most about undertaking your research projects?

For me, the most enjoyable aspects of undertaking a research project are interacting with research participants and collaborating with colleagues. While I appreciate the value of individual research, such as reading existing studies, making connections, and identifying areas for further exploration, I find the collaborative process particularly exciting. Co-designing a research project, formulating research questions, selecting methodologies, and developing research tools alongside colleagues is always a fascinating experience. I have been fortunate to be part of many cross disciplinary teams in national and international collaborative projects, such as ‘Ethno Research’, ‘Mapping the musical lifecourse’, the ‘London Symphony Orchestra “On Track” education programme’, the ‘Music for Life Project: Promoting social engagement and wellbeing in older people through community supported participation in musical activities’. Working with experts from different fields has been incredibly enriching, allowing me to learn from others and contribute to the discovery of new knowledge. I also love engaging directly with research participants, whether during data collection or when sharing our findings. These interactions bring research to life offering powerful insights and meaningful moments that stay with me. I have gathered so many wonderful stories from these experiences, which I always enjoy sharing with my students and colleagues.

What do you like about supervising students?

For me, postgraduate supervision is a shared endeavour, one that I deeply enjoy. I enjoy discovering the connections between my students’ personal experiences, and interests, and the topic they choose to research. Building a relationship of trust is essential, especially when it comes to providing feedback. I never tell students what to do. Instead, I offer suggestions with the hope that they will find them valuable, whether they choose to adopt them or not. My goal is to support students in developing expertise in their chosen field while fostering their confidence as independent researchers. One of the most rewarding aspects of supervision is seeing their ideas take shape and evolve. It is particularly fulfilling co-publishing with my students and standing alongside them at conferences and lectures, sharing a presentation podium as colleagues.

Do you have any advice for someone considering taking up a postgraduate programme by research?

Choose an area of research that genuinely excites you even if you are not entirely sure what you want to explore at first. Take your time at the beginning. Read widely, engage critically with existing studies, and allow yourself to refine your focus as you go. Research is a journey with its own pace. At times you will move slowly as you absorb ideas, then pick up speed when collecting and analysing data. Then, you may need to slow down again, as you connect your findings with what it is already known. Be prepared to shift gears throughout the process and don’t stress if you hit roadblocks along the way. You will reach your destination eventually. Most importantly, avoid comparing your pace with that of other students. Research is a deeply personal process, and everyone moves at their own speed.