Non-formal music education is the field of music education outside the regular school curriculum, and delivered by music teachers / music leaders other than the teacher in the classroom. The main body of this research consists of case studies in the Netherlands. In addition there is a number of case studies in other European countries.
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Article on the basis of the keynote given at the 28th EAS conference, March 2021.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Due to considerable occupational challenges and stressors, classical musicians might face increased risk for mental health issues, compared to the general population. As such, scholars have highlighted the importance of developing psychological resilience in musicians. Nevertheless, this important psychological characteristic has remained understudied within music psychology. The present study therefore examined the relationship between mental health issues and resilience. Using a cross-sectional survey design, a total of 64 musicians (including both music students and professionals) participated in this study. Results highlight that symptoms of depression/anxiety were relatively high within the current population. Moreover, music students experienced significantly more symptoms compared to professional musicians. Both resilience and general physical health were found to be negatively associated with mental health issues. The results highlight the need for further research into mental health issues in music students and provide preliminary evidence for the importance of psychological resilience in classical musicians.
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The concept of lifelong learning refers to the several skills able to provide forneeds of music graduates. Such as it occurs with other areas, the domain ofmusic is in constant modification, either for the incorporation of new technologies, either had the cultural demands or for the multiplicity of activities that music has accumulated. Observing the deficits in the formation of the students, the lifelong learning appears as an alternative to enable the acquisition of tools which improve continuously the professional. The lifelong learning includes a new notion of knowledge that brings together the formal, non-formal and informal teaching, making possible experiences of knowledge objective and practical, as a way to consider the several challenges that appear to the profession. To hold the lifelong learning in the Music Colleges as an objective many changes are requested, and all the structures of the Music Colleges must be engaged.
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In primary music education a key question is what teachers can do to stimulate students’ musical creativity. For the answer, delving into teacher-student interaction during the creative processes in the naturalistic setting of primary music lessons is required. Twenty-six music lessons from thirteen teachers and their classes of seven Dutch schools were recorded to explore the relation between teachers’ autonomy support and students’ divergent and convergent thought & action. Quantitative sequential analysis and thematic analysis were combined to examine this relation, using a framework offered by Complex Dynamic Systems theory and Enaction theory. In contrast to classical correla-tional analysis, sequential analysis focuses on the dynamics, and thus on the temporal relation in classroom interaction. The results show that mostly lower-level autonomy support was offered. Es-pecially in creative lessons, higher-level autonomy support is more likely to lead to higher-level student divergent thought and action. For convergent thought and action, the results were less con-clusive. An implication of the findings is that (research into) music education could benefit from interventions aimed at enhancing autonomy support in primary school music.
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