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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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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Up until 2005 Peter Mak was involved as pedagogy teacher in the instrumental teacher education of the Bachelor of Music of the Prince Claus Conservatoire. The programme’s pedagogy section consisted of modules developed by Peter including ‘Didactics’, ‘Learning processes’, ‘Study skills’, and ‘Exceptional learners.’ These modules, all thoroughly developed and described by Peter, formed a neatly rolled-out set of tuition for the students in the programme. The content and set-up of the modules were based on the latest developments and insights in education. All modules were underpinned by authentic sources from the field and were easy to read. During the past decade Peter’s influence and ideas for the instrumental teacher education remained of great importance. As a committed colleague he was always interested to look into issues and ideas related to the curriculum and stayed an important critical friend. But possibly most distinguished was his between-the-lines plea for all present and future teachers to approach each individual learner with respect and dignity.
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Introduction: The notion of autonomy in Self-Determination Theory is at the core of intrinsically motivated learning, and fulfilment of the need for autonomy is essential for thriving at school. Therefore teacher-provided autonomy support has grown into a key concern in educational research. In the present study into primary school music education, the notion of creative autonomy support is introduced. Research into autonomy support is typically focused on verbal interaction. However, from an enactive perspective, teachers’ gesturing, bodily movement, facial expression, and musical action form an integral part of the socially situated interaction in music lessons, inherently involving autonomy support. In the present study, a distinction is made between creative verbal autonomy support and creative musical and non-verbal autonomy support.Methods: Applying a process-based time-serial methodology, rooted in a Complex Dynamic Systems and Enactive perspective, the effects of an intervention with Video Feedback Coaching for teachers were investigated. Video data of 105 music lessons of 18 teachers (intervention and control condition) from six primary schools was gathered, to examine teachers’ creative autonomy support at both the individual and group level.Results: The findings show that teachers in the intervention condition, compared to the control group, achieved a meaningful increase in their ability to offer creative autonomy support verbally. Teachers also showed development for the non-verbal and musical aspects of offering creative autonomy support. However, particularly for offering higher-level creative autonomy support in the non-verbal and musical mode, significant results were found for less than half of the intervention teachers.Discussion: These results underline the importance of embracing and studying the bodily dimension as an integral part of teacher autonomy support, aimed at emergence of students’ musical creativity, in primary school music education and in teacher training. We explain how these results might be relevant for autonomy enhancing musical activities in vulnerable groups.
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A musical improvisation inspired by a beautifulsummer day or by a song by Elvis; for patientsadmitted in hospital for an operation, music canhave healing powers. With the research projectMeaningful Music in Health Care (MiMiC), thattook place from autumn 2015 until 2018, the researchgroup Lifelong Learning in Music (LLM), togetherwith the department of surgery of the UniversityMedical Center Groningen (UMCG), researched thepractice of live music for hospital patients and theirhealth care professionals. For the research groupLifelong Learning in Music the focus of the researchwas on the meaning of this musical practice formusicians and health care professionals, and onthe development of this practice.The research of UMCG concentrated on the effectsof live music on the recovery and wellbeing of patients
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Article on the basis of the keynote given at the 28th EAS conference, March 2021.
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“In-Between” is the title of this conference. If I am right, it focuses on the role of the artist as a middle-man, or middle-woman, between art and learner. It focuses, maybe, on the way artists are capable to transfer knowledge, skills, attitudes, insights, emotions of an artistic nature. And it focuses, maybe, on the way experiences from the domain of the arts may be transferred through the mechanism inherent in the domain of education; two domains which sometimes seem to have a rather problematic relation because the arts are seen as a domain of beauty, of expressivity, of individuality, of freedom, of creativity, whereas education is seen as the domain of standardization, of group work, of compliance to rules, and of mastering the existing.
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How does artistic identity influence the self-confidence of music educators? What is the interconnection between the artistic and the teacher identity? What is actually meant by artistic identity in music education? What is a fruitful environment for the development of artistic self-confidence of music educators and how can institutions contribute to that? This article reflects on these questions from various angles. Brigitte Lion goes into aspects of self-confidence based on her research and experiences in coaching young teachers. In her address, Christine Stöger establishes a link between gaining self-confidence and positive experiences in the artistic area, making the case for a ‘third space’ where interconnections can occur on the cutting edge of artistic performance and pedagogy. Rineke Smilde finally, discusses the question what gaining self-confidence and displaying one’s artistry as a music educator requires of the learning environment in the institutions that train future music educators.
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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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Brochure about the Meaningful Music in Health care (MiMiC) practice.
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