Background: The population ageing in most Western countries leads to a larger number of frail older people. These frail people are at an increased risk of negative health outcomes, such as functional decline, falls, institutionalisation and mortality. Many approaches are available for identifying frailty among older people. Researchers most often use Fried and colleagues’ description of the frailty phenotype. The authors describe five physical criteria. Other researchers prefer a combination of measurements in the social, psychological and/or physical domains. The aim of this study is to describe the levels of social, psychological and physical functioning according to Fried’s frailty stages using a large cohort of Dutch community-dwelling older people. Methods: There were 8,684 community-dwelling older people (65+) who participated in this cross-sectional study. Based on the five Fried frailty criteria (weight loss, exhaustion, low physical activity, slowness, weakness), the participants were divided into three stages: non-frail (score 0), pre-frail (score 1–2) and frail (score 3–5). These stages were related to scores in the social (social network type, informal care use, loneliness), psychological (psychological distress, mastery, self-management) and physical (chronic diseases, GARS IADL-disability, OECD disability) domains. Results: 63.2 % of the participants was non-frail, 28.1 % pre-frail and 8.7 % frail. When comparing the three stages of frailty, frail people appeared to be older, were more likely to be female, were more often unmarried or living alone, and had a lower level of education compared to their pre-frail and non-frail counterparts. The difference between the scores in the social, psychological and physical domains were statistically significant between the three frailty stages. The most preferable scores came from the non-frail group, and least preferable scores were from the frail group. For example use of informal care: non-frail 3.9 %, pre-frail 23.8 %, frail 60.6 %, and GARS IADL-disability mean scores: non-frail 9.2, pre-frail 13.0, frail 19.7. Conclusion: When older people were categorised according to the three frailty stages, as described by Fried and colleagues, there were statistically significant differences in the level of social, psychological and physical functioning between the non-frail, pre-frail and frail persons. Non-frail participants had consistently more preferable scores compared to the frail participants. This indicated that the Fried frailty criteria could help healthcare professionals identify and treat frail older people in an efficient way, and provide indications for problems in other domains.
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Within NHL Stenden University of Applied Science, a choice for a new virtual learning environment was made in mid-2021, primarily on policy and management grounds. Early in the migration process, it became clear that this approach could perturb the further rollout of the Design-Based Education (DBE, https://edu.nl/mwp8j) educational concept. Four templates were developed to intertwine technological and educational processes that structure different ways of "blended" learning and teaching within DBE. Initial user experiences show that the templates’ structures help teachers reconsider online learning activities to shape and facilitate blended DBE learning processes.
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Innovation is crucial for higher education to ensure high-quality curricula that address the changing needs of students, labor markets, and society as a whole. Substantial amounts of resources and enthusiasm are devoted to innovations, but often they do not yield the desired changes. This may be due to unworkable goals, too much complexity, and a lack of resources to institutionalize the innovation. In many cases, innovations end up being less sustainable than expected or hoped for. In the long term, the disappointing revenues of innovations hamper the ability of higher education to remain future proof. Against the background of this need to increase the success of educational innovations, our colleague Klaartje van Genugten has explored the literature on innovations to reveal mechanisms that contribute to the sustainability of innovations. Her findings are synthesized in this report. They are particularly meaningful for directors of education programs, curriculum committees, educational consultants, and policy makers, who are generally in charge of defining the scope and set up of innovations. Her report offers a comprehensive view and provides food for thought on how we can strive for future-proof and sustainable innovations. I therefore recommend reading this report.
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Energy transition is key to achieving a sustainable future. In this transition, an often neglected pillar is raising awareness and educating youth on the benefits, complexities, and urgency of renewable energy supply and energy efficiency. The Master Energy for Society, and particularly the course “Society in Transition”, aims at providing a first overview on the urgency and complexities of the energy transition. However, educating on the energy transition brings challenges: it is a complex topic to understand for students, especially when they have diverse backgrounds. In the last years we have seen a growing interest in the use of gamification approaches in higher institutions. While most practices have been related to digital gaming approaches, there is a new trend: escape rooms. The intended output and proposed innovation is therefore the development and application of an escape room on energy transition to increase knowledge and raise motivation among our students by addressing both hard and soft skills in an innovative and original way. This project is interdisciplinary, multi-disciplinary and transdisciplinary due to the complexity of the topic; it consists of three different stages, including evaluation, and requires the involvement of students and colleagues from the master program. We are confident that this proposed innovation can lead to an improvement, based on relevant literature and previous experiences in other institutions, and has the potential to be successfully implemented in other higher education institutions in The Netherlands.
Tango is among the most widespread world music genres nowadays. However, only partial information about the elements and techniques of composing, arranging and performing tango has been documented and made available so far. This research project aims at investigating tango’s main aspects in the oeuvre of relevant tango musicians, promoting its creative practice and expanding its artistic community. By making the implicit knowledge in scores and recordings explicit and ready for creative use by the greater artistic community, tango can be preserved, on one side; and musicians can experiment and reach new artistic horizons, securing its continuation and development as vivid, contemporary music, on the other. The project has two research questions: 1. What are the main features and techniques of tango music composition, arrangement and performance? 2. How can musicians nowadays integrate these features and techniques into their practice to deepen their understanding and enhance their artistic creations and performances? This research uses a mixed method design, including the analysis of scores and recordings, literature review, interviews, observational studies and experimentation. It expands the artistic community on the topic and bridges two top-notch institutions devoted to tango learning: Codarts and UNSAM (Argentina). The research also endeavours improvements in the Codarts curriculum as it complements and expands its educational programme by providing students with research tools to enhance their creative practice. Theoretical and artistic outcomes will be documented and disseminated in concerts, concert-lectures, papers, articles and a tailor-made website containing compositions, arrangements, videos, text, musical examples and annotated scores, so as to record: a) the musical materials and techniques found in the analysed scores and recordings, together with their applications in practice and performance; b) the artistic processes, reflections and production of the participants; c) information on how to create, arrange and perform tangos.
