Het artikel bespreekt enige resultaten van een etnografisch onderzoeksproject naar een Nederlands shantykoor en focust op twee vragen: is muzikaal-artistieke kwaliteit van belang in dit koor, en is het koor een formele of een informele groep?
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Herontwikkelen van industrieel erfgoed vereist grondig onderzoek naar de bouw- en gebruiksgeschiedenis van dat erfgoed, en een kaart met alle waardevolle details. Anders gaat teveel verloren bij herontwikkelingen, concludeert HU-docent Kees Geevers in zijn promotieonderzoek aan de TU Delft. Hij pleit voor nieuwe richtlijnen
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Article (Dutch) in newspaper Friesch Dagblad on the relationship between musicians and their audiences.
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Seeing improvisation as something that really needs its place in conservatoire training and education may be more or less ‘new’. However improvisation itself is of course not at all new and has existed since as long as we can remember. I will not go into that any further, it would take not a single address but a symposium of at least two weeks.
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In this article the work of power through discourse in music education in primary schools in the Netherlands is examined. After introducing the central concepts of culture, practice, discourse, and power, the current dominant musical discourse in the Netherlands is presented as expressed in three nested perspectives: the perspective of music as a specialist domain, the perspective of music as (essentially instrumental) performance, and the perspective of music as Art. Then, a central document in current music educational developments in Dutch primary schools is analyzed. It is demonstrated that specifically the perspectives of music as a specialist domain and (partly) music as (instrumental) performance have a strong presence in the document. The article finishes with calling for more attention to the workings of dominant musical discourse in music pedagogical debates.
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The musical landscape in Europe shows a complex picture. Societal change leads to change in the careers of artists. We see an increasing number of unstable jobs in the music profession. It no longer offers many opportunities for full-time, long-term contract work, but is often more project-based, calling on musicians to contribute on a sporadic basis or for specific activities. Many graduates employ themselves as freelance artists.Rarely employed in one job for life, the musician is increasingly an entrepreneur having a portfolio career, comprising simultaneous or successive, brief or part-time periods of employment in different areas of the music profession. Having a portfolio career does not mean that a musician is not employable; rather this reality reflects societal change and also creates, sometimes exciting, challenges. Exact figures of musicians holding a portfolio career are not known. We may assume that the increase of portfolio careers is substantial through contacts held with alumni and alumni research carried out by a number of European conservatories.Holding a portfolio career with overlapping activities in the broad professionalpractice requires the musician to have many roles at the same time
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