The European music profession is rapidly changing and suggests more flexible career patterns and a need for transferable skills and lifelong learning strategies. Musicians collaborate increasingly with practitioners in other arts and societal cross-sector settings. This reality holds challenges and implications for higher music education (Smilde 2009). This state of play was point of departure in 2006 for the development of the collaborative European master ‘New Audiences and Innovative Practice’ (NAIP) by five European conservatoires. Five schools, from Iceland, the UK, the Netherlands and Finland, devised an innovative two-year master programme, helping students to develop and lead creative projects in diverse artistic, community and cross-sectoral settings, thereby creating new audiences and developing their leadership skills in varied artistic and social contexts. The programme aims to provide future professional musicians with the skills and knowledge to become artistically flexible practitioners able to adjust to new contexts within a wide range of situations of societal relevance. This particular chapter entails a case study of the first summer school of this programme which took place in Iceland. It details the heart of the programme, the artistic laboratory and reflective practice.
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This field report examines initiatives in music lifelong learning through the research network Lifelong Learning in Music (LLM) of the Prince Claus Conservatoire in the Netherlands. LLM collaborates with other schools on various projects. As well, there is an innovative masters programme ‘New audiences and innovative practices’ with a variety of partners.
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Proceedings of the IASPM Benelux conference. Popular Music: Theory and Practice in the Lowlands.
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The main challenge of today’s musicians and music educators trained in our conservatoires and music academies is navigating in a rapidly changing cultural landscape. In short, these changes are helping to shape a very different workplace for musicians and music educators. Flexible portfolio careers are held by musicians and music educators, which require finely tuned transferable skills and a more entrepreneurial attitude towards work. Increasingly musicians and music educators work collaboratively with professionals in other fields – in cross-arts, cross-cultural and cross-sector contexts. Moreover, they now have to perform different roles as they are expected to respond creatively to new cultural and educational contexts. They need to be entrepreneurs, innovators, connectors, partners and, most of all, reflective practitioners
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Abstract The emergence of new technologies such as mp3 and music streaming, and the accompanying digital transformation of the music industry, have led to the shift and change of the entire music industry’s value chain. While music is increasingly being consumed through digital channels, the number of empirical studies, particularly in the field of music copyright in the digital music industry, is limited. Every year, rightsholders of musical works, valued 2.5 billion dollars, remain unknown. The objectives of this study are twofold: First to understand and describe the structure and process of the Dutch music copyright system including the most relevant actors within the system and their relations. Second to apply evolutionary economics approach and Values Sensitive Design method within the context of music copyright through positive-empirical perspective. For studies of technological change in existing markets, the evolutionary economics literature provides a coherent and evidence-based foundation. The actors are generally perceived as being different, for example with regard to their access to information, their ability to handle information, their capital and knowledge base (asymmetric information). Also their norms, values and roles can differ. Based on an analysis of documents and held expert interviews, we find that the collection and distribution of the music copyright money is still based on obsolete laws, neoclassical paradigm and legacy IT-system. Finally, we conclude that the rightsholders are heterogenous and have asymmetrical information and negotiating power. The outcomes of this study contribute to create a better understanding of impact of digitization of music copyright industry and empower the stakeholders to proceed from a more informed perspective on redesigning and applying the future music copyright system and pre-digital norms and values amongst actors.
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Introduction: Depression can be a serious problem in young adult students. There is a need to implement and monitor prevention interventions for these students. Emotion-regulating improvisational music therapy (EIMT) was developed to prevent depression. The purpose of this study was to evaluate the feasibility of EIMT for use in practice for young adult students with depressive symptoms in a university context. Method: A process evaluation was conducted embedded in a larger research project. Eleven students, three music therapists and five referrers were interviewed. The music therapists also completed evaluation forms. Data were collected concerning client attendance, treatment integrity, musical components used to synchronise, and experiences with EIMT and referral. Results: Client attendance (90%) and treatment integrity were evaluated to be sufficient (therapist adherence 83%; competence 84%). The music therapists used mostly rhythm to synchronise (38 of 99 times). The students and music therapists reported that EIMT and its elements evoked changes in all emotion regulation components. The students reported that synchronisation elicited meaningful experiences of expressing joy, feeling heard, feeling joy and bodily responses of relaxation. The music therapists found the manual useful for applying EIMT. The student counsellors experienced EIMT as an appropriate way to support students due to its preventive character. Discussion: EIMT appears to be a feasible means of evoking changes in emotion regulation components in young adult students with depressive symptoms in a university context. More studies are needed to create a more nuanced and evidence-based understanding of the feasibility of EIMT, processes of change and treatment integrity.
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In this reflective handbook, Rineke Smilde clarifies fundamental concepts of Lifelong Learning in Music through examples of research projects which were explorative and innovative. She identifies several key themes such as reflective practice, artistry, excellence, reciprocity and artistic response. She gives special attention to the notion of the ‘reflexive conservatoire’, which is rooted within the framework of lifelong learning and includes attention to tacit knowing, artistic excellence and the crucial connection to the outside world. In the end, Smilde makes a strong case for all musicians developing an informed social role that reflects their own identity and underpins their professional performance.
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This chapter gives an overview on the Healthy Ageing research portfolio of the research group Lifelong Learning in Music (Hanze University of Applied Sciences Groningen, the Netherlands). Lifelong learning enables musicians to respond to the continuously changing context in which they are working nowadays, and ageing is one of the major societal changes for many western societies in the 21st century. Musicians are asked by society to contribute to healthy ageing processes, and such a contribution in turn generates possibilities for innovative musical practices with the elderly. We present a three-layered model to look at such innovative practices, which places the musical practice itself in the context of communicative characteristics of working with elderly people and in broader societal and institutional contexts. We then outline four concrete research projects: learning to play an instrument at an elderly age, creative music workshops for elderly in residential home settings, the competencies of creative music workshop leaders working with frail elderly people, and musical work with severely ill elderly people in hospitals. We describe some background values and methodological notions behind our work, and finish the article with a more extensive description of our project on Music and Dementia.
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There is a need for modernizing the Dutch collective management system of music copyright to match the rapidly changing digital music industry. Focusing on the often-neglected human values aspect, this study, part of a larger PhD research, examines the value preferences of music rights holders: creators and publishers. It aims to advise on technological redesign for music copyright management system and contribute to discussions on equitable collective management. Building upon prior research, which comprehensively analyzed the Dutch music copyright system and identified key stakeholders, this paper analyses 24 interviews with those key stakeholders to identify their values and potential value tensions. Initial findings establish a set of shared values, crucial for the next phases of the study –values operationalization. This research makes a academic contribution by integrating the Value Sensitive Design (VSD) approach with Distributive Justice Theory, enriching VSD's application and enhancing our understanding of the Economics of Collective Management (ECM).
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The digital era has brought about profound changes in how music is created, distributed, and consumed, posing a need for modernizing the Dutch collective management system of music copyright to match the rapidly changing digital music industry. This study aims to identify the key stakeholders and their perceptions of the Dutch system of collective management of music copyright. Utilizing qualitative document analysis, the study examines a range of public and non-public documents, including income statements, annual reports from Collective Management Organizations (CMOs), and contracts between publishers and creators. The research is further enriched by twenty-four semi-structured interviews with key stakeholders such as composers, lyricists, music publishers, copyright lawyers, and CMO executives. The findings of the study highlight several issues like the outdated IT systems and the lack of data standardization within the system. The research also notes a contrast in organizational effectiveness: major publishers are well-organized and unified in their negotiations with Digital Service Providers (DSPs) and CMOs, effectively advocating for their rights. However, music copyright holders, despite their legal homogeneity, are either unorganized or ineffectively aligned, displaying diverse interests and varying levels of access to information, as well as differences in norms and values prioritization. The study is grounded in the economics of collective management (ECM) and makes a significant academic contribution to this field by introducing new empirical findings to ECMs core constructs and integrating theoretical perspectives. The research offers valuable insights for policymakers, industry stakeholders, and researchers, aiming to foster a more equitable music copyright management system in the digital context.
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