Musicians today face major changes in the social-cultural landscape and thus in the music profession, which is rapidly changing. The changing cultural life leads to a shift in nature of the career of musicians, suggesting more flexible career patterns and a great need for transferable skills. Musicians hold no longer a job for life, but are increasingly self-employed, so entrepreneurship becomes more and more important. They often have a portfolio career, where they combine several forms of professional activities.
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This paper will explore types of learning, which takes place when musicians work in situations where they have to connect to community contexts.It will first address musicians’ changing professional roles in the changing sociocultural landscape and the need for lifelong learning and emergence of life wide learning which this brings about. It will then go into the rise of the ‘community musician’ and the leadership this requires to exercise, illuminated through an exampleof musicians working with people living with dementia and their care staff.Based on this example perspectives of these musicians’ learning are discussed, where especially transformative learning, where the musician needs to change her frame of reference (Mezirow) and transitional learning, brought about by small changes in musicians’ life world and biography, seem at stake.Keynote address: Royal College of Music in Stockholm: symposium titled: Students' ownership of learning: a meeting place for teachers and students in higher music education,15-17 September 2010
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Within the study ‘Musicians as Lifelong Learners: Discovery through Biography’, biographical research was used to examine key developments in the professional lives of musicians, focusing on the relationship between their life, educational and career span ant their learning styles. This resulted in a collection of 32 narrative learning biographies of musicians from different countries and with various careers. Musicians with a performing career, music pedagogues, and musicians with a portfolio career, who combine different roles within various areas of engagement, are portrayed. The main thread throughout the biographies is the question of how these musicians learn as ‘lifelong learners’.
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In order to meet the challenges of rapidly changing cultural life in the 21st century, professional musicians have to be lifelong learners, drawing on a wide range of knowledge and skills. To be successful in a variety of roles, they need a reflective and responsive attitude to change.This chapter addresses the concept of lifelong learning and its meaning for professional musicians, as well as the ways institutions and teachers can facilitate attitudes and capacities for lifelong learning. A biographical perspective will provide a lens through which concepts of lifelong learning can be seen through the interconnection of musicians' personal and professional development. Lifelong learning in the aggregate complex of music education, (i.e., educational organizations and learning environments, teachers, students, and graduates) is especially relevant and will be addressed. The chapter finishes with some recommendations related to implementing the concept of lifelong learning in music education.
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In this article I will address the changes and innovations in the music profession in Europe which are faced by our students and graduates, as well as new developments in their music careers. We will look into the question of what musicians’ changing needs are and will then show how conservatoires in Europe respond to them. Consequently the various roles that musicians have within their changing career patterns and the profession will be addressed and an example will be given through the description of an emerging career type, that of the (performing and educating) musician who is engaged with new audiences in various social contexts, in other venues than the traditional concert venues. This will be followed by an exploration of the joint master programme New Audiences and Innovative Practice, which has been developed with a number of music academies in Europe and the USA and in which this particular type of musician and practice are central. The article will then finish by exploring the interconnection between the performing and educational roles of today’s musicians, the question of how these two inform each other and how this can lead to the strengthening of musicians’ learning processes. Lastly I will reflect on what these developments mean for curricula in the music academy.
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In order to meet the challenges of rapidly changing cultural life in the twenty-first century, professional musicians need to be lifelong learners, drawing on a wide range of knowledge and skills. To be succesful in a variety of roles, they require a reflective and responsive attitude to change. This chapter addresses the concept and meaning of lifelong learning among professional musicians, as well as the ways institutions and teachers can facilitate attitudes and capacities for lifelong learning.
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Final report of the AEC working group of Continuing Professional Development for Musicians in the framework of the Socrates Thematic Network (TNP) for Music.
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Article on the emergence of the community musician in particular the project Music for Life of Wigmore Hall in London is described. The biographical learning and the learning processes are examined in detail and examples of the interactions between musicians and people with dementia are given as well as the interactions between musicians in the debriefs after the workshopsessions with the Music for Life projects. Emphasis on the biographical learning processes and how this is applicable in art.
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Within a study on ‘musicians as lifelong learners’, explorative biographical research was used. When analysing the learning biographies informed by grounded theory, the emergence of profession-related health issues was striking. More than half of the portrayed musicians suffered from both physical and psychological problems, the latter mostly consisting of performance anxiety (stage fright), which was often connected to low self-esteem.However creative coping strategies were also frequently found by the musicians, showing their extensive use of metacognitive skills. This paper addresses the coping strategies found and relates it to musicians’ transformative learning.
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This article intends to focus on those critical issues arising from the Connect case study (Renshaw, 2005) that have wider applicability in contemporary professional practice in terms of lifelong learning. Special attention will be given to the following areas:• formal, non-formal and informal learning;• musical leadership;• quality;• self-assessment and reflective practice;• professional development of musicians.
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