The EAS conference theme “Craftsmanship & Artistry” confers the image that general music education in 21st western century society moves from a work-based (cf. Small 1998: 2) towards a performance-based definition of music. An example is the work of the MayDay-Group, which formulates many of its seven ideals for general music education in terms of music making (Regelski e.a. 2009: xxxii).This centrality of musicianship is not straightforward. Music is not one but a set of activities (Clarke 2005: 204), and for many music is meaningful in daily life without performance being central. Based on my own research of a varied selection of individuals narrating the importance of music in their lives, this article argues that craftsmanship and artistry are only two of many more ways of describing what music essentially “is”.We must take Cavicchi’s (2009) thesis on the bifurcation of everyday and institutionalized musicality and the resulting “irrelevance of music education” seriously. Musicianship can’t be positioned a-priori at the core of music education; its core must be located on the basis of research into what music means in the actual lives of actual people. This leads towards a more learner-centered approach to general music education in which each learner’s idio-syncratic “musicker-ship” is the starting point.
Actuele ontwikkelingen maken dat er vanuit verschillende gremia hernieuwde aandacht is voor kansenongelijkheid tussen regio’s in Nederland. Het advies "" Elke regio telt" (2023) vormde hier een belangrijke aanzet toe. Echter, een inventarisatie van de focus bij het onderzoek en het onderwijs aan hogescholen binnen het sociaal-ruimtelijke domein laat zien dat er (nog) weinig expliciete aandacht is voor het platteland en haar bewoners. Netwerken, curriculaonderdelen en lectoraatsgroepen richten zich grotendeels op steden en wijken. In dit opiniërend artikel pleiten wij, gezien de stapeling van vraagstukken waarmee plattelandsregio’s en de gemeenschappen te maken krijgen voor meer aandacht voor het platteland vanuit de hbo’s. Gezien de (on) mogelijkheden van lokale dorpsgemeenschappen om hier een bepalende, lange termijn rol in tespelen, is er ook vanuit deze invalshoek meer aandacht nodig van (toekomstige) sociaal werkers en daarmee opleidingen Social Work en aanverwant praktijkonderzoek.
MULTIFILE
From November 2013 till January 2014 a minor ‘Smart Life Rhythms’ was taught at The Hague University of Applied Sciences. In the minor students used service design methods to develop solutions for improving life rhythms. Reflection on the minor produced the insight that building physical prototypes early on in the design process was key to success. Further discussions with colleagues and a literature review gave more arguments for the motto ‘Just build it’ – an encouragement to build simple physical models in the early stages of the service design process. Building these simple physical models is not just advocated by educators and in line with service design principles such as being iterative and user-centered. In his book ‘the Craftsman’ (Sennett, 2009) Richard Sennett provides us with more fundamental arguments regarding the value of ‘making things’. On top of the added value to the design process in itself, simple physical models are a tool for engaging both clients, users and students in the design process. So get out your glue gun and start building!
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
A quartermaster was asked to test the support dor the establishment of two workplaces for the development of craftsmanship in restoration of heritage in the municipalities of Oldambt and Hogeland.An advise concerning possibilitiesA quartermaster was asked to test the support dor the establishment of two workplaces for the development of craftsmanship in restoration of heritage in the municipalities of Oldambt and Hogeland.
