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
Learning theories broadly characterised as constructivist, agree on the importance to learning of the environment, but differ on what exactly it is that constitutes this importance. Accordingly, they also differ on the educational consequences to be drawn from the theoretical perspective. Cognitive constructivism focuses on the active role of the learner, and on real-life learning. Social-learning theories, comprising the socio-historical, socio-cultural theories as well as the situated-learning and community-of-practice approaches, emphasise learning as being a process within and a product of the social context. Critical-learning theory stresses that this social context is a man-made construction, which should be approached critically and transformed in order to create a better world. We propose to view these different approaches as contributions to our understanding of the learning-environment relationship, and their educational impact as questions to be addressed to educational contexts.
The main focus of this article is on performance anxiety and stage fright in musicians, seen through the lens of biographical research. In short, biographical research deals with research into learning, taking as point of departure that important learning always needs to be understood in relation to the biography of the learner (Alheit 2009, p. 116). Within biographical learning people can act as their own change agents. This article discusses biographical findings on musicians’ generic leadership when coping with profession-related health issues and the transformative and transitional learning evolving from this.
