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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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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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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n research (2010-2012) conducted by the research group Lifelong Learning in Music into instrumental lessons for elderly learners, a ‘Community of Practice’ (CoP; Wenger & Lave) was set up in which instrumental music teachers exchanged expertise and reflected together on their actions in lessons with elderly pupils. Meetings of the CoP centred on the exchange and development of knowledge. In 2012-2013 a follow-up study was conducted which looked into the transfer and development of knowledge within this CoP. Central in this follow-up study were the questions: “What learning takes place in the CoP?” and “Can collaborative learning contribute to the professional development of teachers?”
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n research (2010-2012) conducted by the research group Lifelong Learning in Music into instrumental lessons for elderly learners, a ‘Community of Practice’ (CoP; Wenger & Lave) was set up in which instrumental music teachers exchanged expertise and reflected together on their actions in lessons with elderly pupils. Meetings of the CoP centred on the exchange and development of knowledge. In 2012-2013 a follow-up study was conducted which looked into the transfer and development of knowledge within this CoP. Central in this follow-up study were the questions: “What learning takes place in the CoP?” and “Can collaborative learning contribute to the professional development of teachers?”
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As a consequence of restructuring instrumental music education in the Netherlands, Art Centres increasingly cease to facilitate instrumental music lessons. As a consequence, instrumental teachers are no longer employed in these Centres and have started working as independent entrepreneurs now. The question is how (future) teachers can share their knowledge, renew their profession and shape their professional development without being organised within institutions.In research conducted by the research group Lifelong Learning in Music into instrumental lessons for elderly learners we worked with a ‘Community of Practice’ (CoP; Lave & Wenger 1991). A group of recently graduated teachers provided instrumental lessons for elderly people. This group of teachers formed a CoP together with teachers with experience in teaching elderly students and the researchers in this study. Members worked within the CoP in varying formations in peer learning sessions and seminars. Meetings of the CoP centred on the exchange and development of knowledge. In this study I look into the transfer and development of knowledge within this CoP. The data used in writing this paper are the reflective dairies and logbooks written by the participants following the lessons with elderly students and the meetings of the CoP. The central question of this study is:“What learning took place in the Community of Practice?ResultsThe CoP is a rich learning environment. Learning takes place in a multitude of ways. Learning is stimulated by the multiformity of the group make-up and by using a variety of work forms. Equality is achieved when all the participants have the same opportunity to contribute to the CoP.Learning in the CoP is influenced by the way in which participants observe, formulate their observations and put these into words. When setting up a CoP as a learning environment attention should be paid to the ways in which reflection as a result of the observations and exchange can be stimulated further.The collaborative learning which takes place in the CoP is useful for the transfer and development of knowledge. Working with a CoP at the intersection of the professional practice and the professional training is of great value to all those involved.
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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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As a consequence of restructuring instrumental music education in the Netherlands, Art Centres increasingly cease to facilitate instrumental music lessons. As a consequence, instrumental teachers are no longer employed in these Centres and have started working as independent entrepreneurs now. The question is how (future) teachers can share their knowledge, renew their profession and shape their professional development without being organised within institutions. In research conducted by the research group Lifelong Learning in Music into instrumental lessons for elderly learners we worked with a ‘Community of Practice’ (CoP; Lave & Wenger 1991). A group of recently graduated teachers provided instrumental lessons for elderly people. This group of teachers formed a CoP together with teachers with experience in teaching elderly students and the researchers in this study. Members worked within the CoP in varying formations in peer learning sessions and seminars. Meetings of the CoP centred on the exchange and development of knowledge. In this study I look into the transfer and development of knowledge within this CoP. The data used in writing this paper are the reflective dairies and logbooks written by the participants following the lessons with elderly students and the meetings of the CoP. The central question of this study is: “What learning took place in the Community of Practice? Results The CoP is a rich learning environment. Learning takes place in a multitude of ways. Learning is stimulated by the multiformity of the group make-up and by using a variety of work forms. Equality is achieved when all the participants have the same opportunity to contribute to the CoP. Learning in the CoP is influenced by the way in which participants observe, formulate their observations and put these into words. When setting up a CoP as a learning environment attention should be paid to the ways in which reflection as a result of the observations and exchange can be stimulated further. The collaborative learning which takes place in the CoP is useful for the transfer and development of knowledge. Working with a CoP at the intersection of the professional practice and the professional training is of great value to all those involved.
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Stress is increasingly being recognized as one of the main factors that is negatively affecting our health, and therefore there is a need to regulate daily stress and prevent long-term stress. This need seems particularly important for adults with mild intellectual disabilities (MID) who have been shown to have more difficulties coping with stress than adults without intellectual disabilities. Hence, the development of music therapy interventions for stress reduction, particularly within populations where needs may be greater, is becoming increasingly important. In order to gain more insight into the practice-based knowledge on how music therapists lower stress levels of their patients with MID during music therapy sessions, we conducted focus group interviews with music therapists working with adults with MID (N = 13) from different countries and clinical institutions in Europe. Results provide an overview of the most-used interventions for stress reduction within and outside of music. Data-analysis resulted in the further specification of therapeutic goals, intervention techniques, the use of musical instruments, and related therapeutic change factors. The main findings indicate that music therapists used little to no receptive (e.g., music listening) interventions for stress reduction, but preferred to use active interventions, which were mainly based on musical improvisation. Results show that three therapy goals for stress relief could be distinguished. The goal of “synchronizing” can be seen as a sub goal because it often precedes working on the other two goals of “tension release” or “direct relaxation,” which can also be seen as two ways of reaching stress reduction in adults with MID through music therapy interventions. Furthermore, the tempo and the dynamics of the music are considered as the most important musical components to reduce stress in adults with MID. Practical implications for stress-reducing music therapy interventions for adults with MID are discussed as well as recommendations for future research.
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